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IPHIGENIA, 


From a wall-painting at Pompeii. 


— 


᾿ LOWER LIBRARY 
point 
πα heyh CEBICESR 4 


COLLEGE SERIES OF GREEK heshone HILL, Mass 
Di 
EDITED UNDER THE SUPERVISION OF 


JOHN WILLIAMS WHITE anp THOMAS Ὁ. SEYMOUR, 


EURIPIDES 


BOSTON COLLEGE LIBRARY 
CHESTNUT HILL, MASS. 


ΝΠ lt G HN LA 


AMONG THE 


TAURIANS 


EDITED BY 


ISAAC FLAGG ἢ 


ἕρπει κατάντης συμφορὰ πρὸς τἀγαθά 


Boston, U. 
PUBLISHED BY GINN & COMPANY 
1891 


DS 


ENTERED AT STATIONERS’ HALL. 


COPYRIGHT, 1889, BY 


JOHN WILLIAMS WHITE AND THOMAS 1). SEYMOUR, | 


ΑἸ, RIGHTs RESERVED. 


: « 
. 


ψ' 


TO 
MY FRIEND 
AND FORMER COLLEAGUE 
Tracy Peck 


YALE UNIVERSITY 


hr es, πὰς 


SYNOPSIS OF THE INTRODUCTION. 


Age and Celebrity of the Play. 

Iphigenia Taurica and Iphigenia Aulidensis — The Tauric situation a hit of 
Euripides — Dramatized by other playwrights, Greek and Roman — Depicted 
upon gems, amphorae, sarcophagi, etc. — The most faultless Euripidean 
tragedy. 

The Legend and its Growth. 

Argument of the play of Euripides — Growth of the legend partly literary, 
partly popular — Its form in Homer—In lyric poetry — Pindar —In tragedy — 
Local myths in the Attic drama — Euripides modifies the tradition of Orestes’ 
sojourn at Athens — Attic cults the nucleus of the play — Halae and Brauron 
— The dramatic representation brought home to the spectator — A mytho- 
logical tangle. 

Plot and Scenic Adjustment. 

The plot not simple, but complicated — ἀναγνώρισις and περιπέτεια --- Sus- 
pense — Irony — Both effects present early in the play — Intensified as the 
action proceeds — The spectator at an advantage as regards all the dramatis 
personae — Method of the ἀναγνώρισις --- δέσις and λύσις --- Irony of equivoke 
— Stage requirements — Distribution of the parts — Entrances and exits. 


Artistic Structure. 


Critical theories won by induction from Greek models — Instructiveness of 
Euripides’ irregularities — Euripidean prologue — deus ex machina — A double 
interference — Three motives for the celestial intervention — Apollo’s oracles 
not fulfilled through human deceit — Sympathy for the chorus as persons — 
Gratification of local.sentiment — Epic element — The ῥῆσις ἀγγελική — Con- 
spicuous in Euripides — Messenger for both δέσις and λύσις --- First narration 
— Artistic advantage of the narrative form — Second narration — Ancient — 

‘spectators not ‘closet critics’ — Function of the chorus in tragedy — Atten- 
uated in Euripides — Chorus of captives — Pertinence of the several choral 
performances — The parodos — The stasima — Second commos, etc. 


Metres and Technique. 


Abruptness of the learner’s step from epos to drama — Greek drama a 
musical performance — The accompanying music has been lost — Wholesome 
curbs to poetic genius — Iambic trimeter — Relaxed severity of its form — 
After about 420 B.c. — Trochaic tetrameter — Revived by Euripides — Ethos 
of the trochaic rhythm — ἀντιλαβαί — στιχομυθία --- Enlarged in scope by 
Euripides — The anapaestic system — ἔπη and μέλη — Distinguished by the 
dialect — Free anapaests — Parodos — Prelude to the dirge — Prosodiac and 
paroemiac verses — Commos (6pjvos) — Logaoedic strophes — Variety and 
flexibility of the logaoedic rhythm — First stasimon, metrical scheme — Sec- 
ond stasimon, metrical scheme — Third stasimon, metrical scheme — Doch- 
miacs — The characteristic tragic measure — Second commos, metrical scheme 
— Scene of recognition (μέλος ἀπὸ σκηνῆς), metrical scheme. 


PN LUC TION, 


AGE AND CELEBRITY OF THE Pray. 


Evuripiwes’ Iphigenia among the Taurians is certainly one of the 
poet’s later works, although the year of its representa- Iphigenta 
tion is unknown. A quotation in the Frogs of Aristo- Taurica and 
phanes! shows that it preceded the Iphigenia at Aulis, yesh, 
which was first brought out after the author’s death by 
his son, the younger Euripides. The earlier play is thus the dram- 
atization of a passage in the legendary history subsequent to that 
which forms the theme of the later play. This order of composi- 
tion might be inferred from the treatment of the subject in the two 
dramas severally considered. ‘To make the heroine resign herself 
as a voluntary sacrifice for Hellas, as is done in the scene at Aulis, 
was an afterthought of Euripides. Had this idea been already 
presented tothe public, the poet would hardly have reverted to the 
traditional conception of the event, which is preserved in the Tauric 
play — where the daughter of Agamemnon, ministering in a sav- 
age land to the goddess who has spirited her away out of the 
hands of her slayers, deplores, with grave reproach upon her 
father’s name, the cruel destiny that reared her as a victim to 
the sacrificial knife. 


1 Kuripides. 
1232 πέλοψ ὁ Ταντάλειος εἰς Πῖσαν μολὼν 
θοαῖσιν ἵπποις 


Aeschylus. 


ληκύθιον ἀπώλεσεν. 


The Frogs was represented 405 B.c., the year after the death of Euripides, but 
the quotation implies an acquaintance with the tragedy on the part of the 
Athenian public, and shows that it must have been brought out during the life 
of the poet. Some conjectures that have been made as to the year of repre- 
sentation are mentioned in foot-note 31. 


4 INTRODUCTION. 


It was a moment of the happiest inspiration, when Euripides 
The Tauric 83 led so to combine the offshoots of the legend as to 
situation a bring Orestes and Pylades into the presence of Iphi- 
hit of Euri- genia, to be sacrificed under her auspices at the altar of 
Pee the Taurian Artemis. ‘The world could not be slow to 
applaud the singular felicity of the dramatic situation thus pro- 
duced and the masterly skill with which it was portrayed. The 
subject became a favorite in literature and in graphic art, and 
maintained a lasting popularity. The Pyladea amicitia was an 
ineffaceable type. One Polyidus, ‘the sophist,’ is named by Aris- 
totle as the author of an Iphigenia in which the recognition between 

brother and sister was cleverly brought about. Even 
Dramatized . : 
by other the aged Sophocles, it would appear, deigned to be a fol- 
playwrights, lower with a tragedy entitled Chryses—a sort of sequel 
ead to the adventures of the three friends fleeing from the 

Taurian land; depicting once more the generous rivalry 
of the two cousins in the face of impending death at the hands 
of King Thoas, who had overtaken them in Chryses’ realm. The 
Sophoclean work furnished a model to Pacuvius, whose version (as 
Cicero relates) won vociferous applause in the theatre at Rome.” 

Numerous antique pictorial designs taken from this theme are 
Depicted Still in existence, the most of them in accord with the 
Set ped drama of Euripides. The subject appears to have been 
sarcophag!, esteemed for the decoration of sarcophagi, whose ex- 
ti tended reliefs could depict the successive stages of the 


2 Jaeius. qui clamores.tota cavea nuper in hospitis et 
amici mei M. Pacuvii nova fabula! cum ignorante rege uter 
esset Orestes, Pylades Orestem se esse diceret, ut pro illo 
necaretur, Orestes autem, ita ut erat, Orestem se esse perse- 
veraret Cic. De amicitia vii. 24. 

qui clamores vulgi atque imperitorum excitantur in the- 
atris, quum illa dicuntur: : 

Ego sum Orestes, 
contraque ab altero: 
Immo enimvero ego sum, inquam, Orestes ! 
cum autem etiam exitus abutroque datur conturbato er- 
rantique regi: Ambo ergo una necarier precamur, quotiens hoc 
agitur,ecquandone nisi admirationibus maximis? id. De finibus 
V. xxii. 63. — See also 7b. II. xxiv. 79. 


CELEBRITY OF THE PLAY. τ 


event, from the frenzy of Orestes at the shore to the embarkation 
with the priestess and the idol. Vase-paintings show selected 
moments, notably that when Iphigenia delivers her letter into the 
hands of Pylades. Upon a cameo preserved at Florence, the three 
are seen in an attitude of repose near the altar. A Pompeian 
wall-painting of exquisite grace and dignity represents them at 
the close of their undertaking —Orestes and Pylades armed with 
sword and spear on either side of Iphigenia, who bears the effigy 
of the goddess.* 

Negatively considered, the Tauwric Iphigenia is the most fault- 
less of Euripides’ extant tragedies. There remains not ag sidasd 
another one that is marred by so few of those grave lapses faultless 
from dramatic propriety and universal good taste to FEuripidean 

‘ : : tragedy. 
which the poet’s mind was subject. It has the rare 
merit of a complete and effective harmony of the parts, and the 
portraiture is remarkable for a wholesome consistency and balance, 
together with a pervading suggestion of reserved power. In truth 
the play is by all means one of the most charming of dramas, 
and especially well fitted, with its spirited adventure, thrilling sus- 
pense, and delightful happy ending, to captivate the minds of 
young and ingenuous readers. ‘The clever Iphigenia is not soon 
forgotten, nor the noble friendship of the*youthful pair — qui duo 
corporibus, mentibus unus erant.* And not only are the persons 


8 Convenient references for investigating this interesting branch of the 
subject may be found in Kinkel Kuripides und die bildende Kunst, and Vogel 
Scenen Euripideischer Tragoedien in griechischen Vasengemiilden. 

4 The site of the Taurian temple is the modern Balaclava of warlike renown 
in the Crimea. Thence westward, also on the coast of the Euxine, was Tomi, 
the modern Kustendji, where the Roman poet Ovid ended his days in melan- 
choly exile. Twice in the poems there written he relates the story of Orestes, 
with his usual felicity of expression, and for the most part closely following 
Euripides. 


nec procul a nobis locus est, ubi Taurica dira 
caede pharetratae spargitur ara deae. 
65 haec prius, ut memorant, non invidiosa nefandis 
nec cupienda bonis regna Thoantis erant. 
hic pro supposita virgo Pelopeia cerva 
sacra deae coluit qualiacumque suae. 
quo postquam, dubium, pius an sceleratus, Orestes 
70 exactus furiis venerat ipse suis, 


INTRODUCTION. 


winsome, but the scenes in which they move are touched with the 
romantic picturesqueness that adorns Euripidean song. Every- 
where we catch the fragrance of the salt spray of the ocean. In 
the foreground lies the weird and barren shore of the ‘ Inhospi- 


80 


et comes exemplum veri Phoceus amoris, 
qui duo corporibus, mentibus unus erant, 
protinus evincti tristem ducuntur ad aram, 
quae stabat geminas ante cruenta fores. | 
nec tamen hune sua mors, nec mors sua terruit illum; 
alter ab alterius funere maestus erat. 
et iam constiterat stricto mucrone sacerdos, 
cinxerat et Graias barbara vitta comas, 
cum vice sermonis fratrem cognovit, et illi 
pro nece complexus Iphigenia dedit. 
laeta deae signum, crudelia sacra perosae, 
transtulit ex illis in meliora locis. Tristia iv. 4. 


The following passage is the supposed narrative of an old man of Scythia: 


σι 
OL 


65 


nos quoque amicitiae nomen, bone, novimus, hospes, 
quos procul a vobis ultimus orbis habet. 

est locus in Scythia, — Tauros dixere priores, — 
qui Getica longe non ita distat humo. 

hac ego sum terra (patriae nec paenitet) ortus: 
consortem Phoebi gens colit illa deam. 

templa manent hodie vastis innixa columnis, 
perque quater denos itur in illa gradus. 

fama refert illic signum caeleste fuisse: 
quoque minug dubites, stat basis orba dea: 

araque quae fuerat natura candida saxi, 
decolor adfuso tincta cruore rubet. 

femina sacra facit taedae non nota iugali, 
quae superat Scythicas nobilitate nurus, 

sacrifici genus est, — sic instituere priores, — 
advena virgineo caesus ut ense cadat. 

regna Thoans habuit Maeotide clarus in ora, 
nec fuit Euxinis notior alter aquis. 

sceptra tenente illo liquidas fecisse per auras 
nescio quam dicunt Iphigenian iter. 

quam levibus ventis sub nube per aéra vectam 
creditur his Phoebe deposuisse locis. 

praefuerat templo multos ea rite per annos, 
invita peragens tristia sacra manu: 

cum duo velifera iuvenes venere carina, 
presseruntque suo litora nostra pede. 

par fuit his aetas et amor. quorum alter Orestes, 
alter erat Pylades. nomina fama tenet. 

protinus inmitem Triviae ducuntur ad aram, 
evincti geminas ad sua terga manus. 

spargit aqua captos lustrali Graia sacerdos, 
ambiat ut fulvas infula longa comas, 


THE LEGEND. 7 


table Sea,’ but the radiant distance behind its waves is never lost 
to sight. ‘There shine the ‘city towers of equestrian Hellas,’ the 
‘fair waters of the Eurotas green with reeds,’ the ‘ many-folded 
glens of Phocis,’ dear to the huntsman and his dogs. Thither the 
yearning voices of exile and captive are breathed forth, thither at 
last the heaven-sped vessel turns her prow, and Pan’s music is in 
the piping breeze that wafts her homeward through the ‘ dark 
blue Symplegades.’® 


THe LEGEND AND ITs GROWTH. 


Orestes, the son of Agamemnon and Clytaemnestra, saved by 
friendly hands at the time of his father’s murder,’ and Argument 
harbored until his majority at the home of his cousin of the play 
Pylades, the son of Strophius the Phocian, had slain his “= Pies: 


75  dumque parat sacrum, dum velat tempora vittis, 
dum tardae causas invenit ipsa morae, 
‘non ego crudelis, iuvenes. ignoscite!’ dixit 
‘sacra suo facio barbariora loco. 
ritus is est gentis. qua vos tamen urbe venitis ? 
80 quove parum fausta puppe petistis iter?’ 
dixit. et audito patriae pia nomine virgo 
consortes urbis comperit esse suae. 
‘alteruter votis ’ inquit ‘cadat hostia sacris: 
ad patrias sedes nuntius alter eat.’ 
85 ire iubet Pylades carum periturus Oresten : 
hic negat. inque vicem pugnat uterque mori. 
extitit hoc unum, quod non convenerit illis : 
cetera par concors et sine lite fuit. 
dum peragunt pulchri iuvenes certamen amoris, 
90 ad fratrem scriptas exarat illa notas. 
ad fratrem mandata dabat. cuique illa dabantur 
(humanos casus aspice !) frater erat. 
nec mora. de templo rapiunt simulacra Dianae, 
clamque per inmensas puppe feruntur aquas. 
95  mirus amor iuyenum, quamvis abiere tot anni, 
in Scythia magnum nunc quoque nomen habet. Hx Ponto iii. 2. 


5 Once familiar with the antique play, the student will find himself pre- 
pared to relish perfectly the fine contrast served up by Goethe in his phigenie 
auf Tauris, and will be enabled to estimate for himself the exact degree of 
spiritual amelioration that three children of nature can take on in three thou- 
sand years of development. 

6 According to Pindar the boy was rescued by his nurse, see foot-note 7. 
In Aeschylus Ag. 877 ff. Clytaemnestra herself sends him away before his 


8 INTRODUCTION. 


mother in obedience to an oracle of Apollo. Pursued by the Furies 
in consequence of this deed, a second oracle had directed him to 
Athens to be tried before the court of the Areopagus. Though 
acquitted by a tie vote, Orestes is still pursued by those Furies 
who do not acquiesce in the decision of the tribunal, and for the 
third time has recourse to the Delphian god. By 8 third oracle he 
is bidden to convey to Attica from the land of the Taurians the 
image of Artemis worshipped there, with the promise that his suf- 
ferings shall then cease. ‘The priestess of the Taurian Artemis, 
unwillingly in charge of the human sacrifices offered at her shrine, 
is Orestes’ sister Iphigenia, whom the world believed slain by her 
father as he set sail for Troy — ignorant of her miraculous deliy- 
erance by the goddess to whom she was devoted as a victim. 
Orestes and Pylades, arriving at the Taurian land in furtherance 
of their mission, are captured by the inhabitants, and in accord- 
ance with the barbaric custom are consigned as victims to the 
priestess of the temple. Orestes is saved from sacrifice at his sis- 
ter’s hands by a timely discovery of their relationship, and together 
the three friends concert a plan of escaping to Hellas with the 
divine image. 


father’s return from Troy. In the Electra of Sophocles he is saved by an old 
and trusty serving-man with Electra’s aid, and similarly in Euripides’ Hlectra. 
In the present play naturally nothing is said on this point, but Iphigenia 
speaks of her brother as an infant in arms at the time of her leaving home 
for Aulis. 

The name of Pylades’ mother, the sister of Agamemnon, was Anaxibia 
according to Pausanias ii. 294, see v. 918 of the play. The following is the 
tree of Tantalus: 

Τάνταλος 


| 
ἘΡΕ ΓΦ ΚΣ 
Νιόβη Πέλοψ + Ἱπποδάμεια 


᾿Αερόπη + ᾿Ατρεύς Θυέστης 


Κλυταιμνήστρα + ᾿Αγαμέμνων Μενέλαος ᾿Αναξιβία + Στρόφιος 


| ] 
Ἰφιγένια Ἠλέκτρα Χρυσόθεμς Ὀρέστης Πυλάδης 


THE LEGEND. 5 


Such are the outlines of the myth as shaped in the tragedy before 
us. A glance at the antecedent literature will reveal some Growth of 
of the steps by which it has reached this form, while cer- near 
tain other phases of a popular and local character will be ary, partly 
brought to view by looking more closely into the play itself. Popa 

Both the sacrifice of Iphigenia and the matricide and remorse of 
Orestes, the two branches of the legend that unite in Euripides, are 
unknown to the Homeric poems. In the Odyssey, of the ts form in 
vengeance of Orestes we read that ‘ he came back from Homer. 
Athens and slew his father’s murderer, the crafty-minded Aegisthus, 
who killed his illustrious sire.’ That Clytaemnestra met her death at 
the same time for her complicity in Aegisthus’ deed, is made clear in 
the same passage, but not that she fell by the hand of Orestes him- 
self. ‘ Having slain him,’ it continues, ‘he served a funeral-feast 
to the Argives over his hateful mother and the cowardly Aegisthus.’ 
It remained for the lyric poetry to give utterance to that τῇ jyric 
spirit of doubting scrupulous reflection which suggests a poetry: 
conflict of duties in Orestes’ position, and by making him the slayer 
of his mother, as well as of Aegisthus, and delivering him over to 
the Furies, prepares the subject for dramatic treatment. Thus the 
Oresteia of Stesichorus of Himera was the precursor of Aeschylus’ 
great trilogy. ‘The sacrifice at Aulis first appeared in literature in 
the Cyprian Lays, an epic of the Trojan cycle. We next 
find it in Pindar, who propounds the query whether the 
daughter’s death may have incited the wife to her crime, as in the 
tragedies the murderess herself is made to plead. Moreover the 
refuge of Orestes is now Phocis, nigh to the Delphian temple, and 
no longer Athens, as in Homer. The same Pindaric ode speaks of 
the Pythian victor whom it celebrates as conquering ‘in the rich 
lands of Pylades, friend of Laconian Orestes,’ and names the aged 
Strophius ‘ dwelling at Parnassus’ foot,’ to whom the child of Aga- 
memnon came, saved by his nurse Arsinoe ‘ from the stern hands 
of Clytaemnestra and her guile.’ Then in due time he ‘ slew his 
mother and left Aegisthus’ body in its blood.’‘ 


Pindar, 


‘The Homeric passage quoted is y 306-310. Aegisthus ruled Mycenae 


cae PATS, τῷ δέ of ὀγδοάτῳ κακὸν ἤλυθε δῖος ᾿Ορέστης 


ἄψ ἀπ᾿ ᾿Αθηνάων, κατὰ δ᾽ ἔκτανε πατροφονῆα 
) ρ ᾿ 


10 INTRODUCTION. 


Eight of the thirty-two Attic tragedies still extant deal with this 
theme in one or both of its branches: the three plays 
forming Aeschylus’ Orestean trilogy (Agamemnon, Choe- 
phoroe, Humenides), the Electra of Sophocles, and the Electra, 
Orestes, and the two Iphigenias of Euripides. ‘The immolation of 
his daughter by Agamemnon is the immediate subject of the Jphi- 
genia at Aulis only, but it is employed as a motive in other plays, 
and the opening piece of Aeschylus’ trilogy contains a grand and 
moving lyrical description of the sacrificial scene.* Clytaemnestra’s 


In tragedy. 


Αἴγισθον δολόμητιν, 6 of πατέρα κλυτὸν ἔκτα. 
ἤτοι ὃ τὸν κτείνας δαίνυ τάφον ᾿Αργείοισιν 
μητρός τε στυγερῆς καὶ ἀνάλκιδος Αἰγίσθοιο. 


Pindar’s Eleventh Pythian: Thrasydaeus of Thebes won the foot-race as a 


boy ἐν ἀφνεαῖς ἀρούραισι Πυλάδα 
νικῶν ξένου Λάκωνος ᾿Ορέστα. 


25 τὸν δὴ φονευομένου πατρὸς ᾿Αρσινόα Κλυταιμνήστρας 
χειρῶν ὕπο κρατερᾶν Kak δόλου τροφὸς ἄνελε δυσπενθέος, 
ὁπότε Δαρδανίδα κόραν Πριάμου 

80 Κασσάνδραν πολιῷ χαλκῷ σὺν ᾿Αγαμεμνονίᾳ 
ψυχᾷ πόρευσ᾽ ᾿Αχέροντος ἀκτὰν παρ᾽ εὔσκιον 

85 νηλὴς γυνά. πότερόν νιν ἄρ᾽ ᾿Ιφιγένει᾽ ἐπ’ Εὐρίπῳ 
σφαχθεῖσα τῆλε πάτρας ἔκνισεν βαρυπάλαμον ὄρσαι χόλον ; 

* * * * * 
* * * * * ἃ 

* ἴω id Ἔ ὃ: ὃ δ᾽ ἄρα γέροντα ξένον 
Στρόφιον ἐξίκετο, νέα κεφαλά, 

δῦ Παρνασοῦ πόδα ναίοντ᾽ " ἀλλὰ χρονίῳ σὺν “Ape 
πέφνεν τε ματέρα θῆκέ T Αἴγισθον ἐν φοναῖς. ~ 


8 In the parodos of the Agamemnon: Calchas has declared that Artemis de- 
mands the maiden’s blood, and the mental struggles of the king have been 


described. ἔτλα δ᾽ οὖν θυτὴρ 
225 γενέσθαι θυγατρός, 
γυναικοποίνων πολέμων ἀρωγάν, 
καὶ προτέλεια ναῶν. 


λιτὰς δὲ καὶ κληδόνας πατρῴους 
παρ᾽ οὐδὲν αἰῶνα παρθένειόν 7° 

280 ἔθεντο φιλόμαχοι βραβῆς. 
φράσεν δ᾽ ἀόζοις πατὴρ μετ᾽ εὐχὰν 
δίκαν χιμαίρας ὕπερθε βωμοῦ 
πέπλοισι περιπετῆ 
παντὶ θυμῷ προνωπῆῇ λαβεῖν 


THE LEGEND. 11 


plea that she has been prompted to kill her husband to avenge her 
daughter’s death appears in both Aeschylus and Sophocles, and 
furnishes a link of connection between Iphigenia’s fate and the 
struggles of Orestes that is drawn closer in the Euripidean work. 


235 ἀέρδην, στόματός 
τε καλλιπρῴρου φυλακὰν κατασχεῖν 
φθόγγον ἀραῖον οἴκοις, 


βίᾳ χαλινῶν 7 ἀναύδῳ μένει. 
κρόκου βαφὰς δ᾽ ἐς πέδον χέουσα 
ἔβαλλ᾽ ἕκαστον θυτήρων 
240 ἀπ᾽ ὄμματος βέλει φιλοίκτῳ, 
πρέπουσά θ᾽ ὡς ἐν γραφαῖς, προσεννέπειν 
θέλουσ᾽, ἐπεὶ πολλάκις 
πατρὸς κατ᾽ ἀνδρῶνας εὐτραπέζους 
ἔμελψεν, ἁγνᾷ δ᾽ ἀταύρωτος αὐδᾷ πατρὸς 
245 φίλον τριτόσπονδον εὔποτμον παιᾶνα φίλως ἐτίμα. 


The Jphigenias of Aeschylus and Sophocles have been lost, but the passage 
above quoted must have had its share of influence upon Lucretius in his fine 
lines of Book i. Iphigenia is here identified with Homer’s Iphianassa, 1 145. 


religio peperit scelerosa atque impia facta, 
Aulide quo pacto Triviai virginis aram 

85 Iphianassai turparunt sanguine foede 
ductores Danaum delecti, prima virorum. 
cui simul infula virgineos circum data comptus 
ex utraque pari malarum parte profusast, 
et maestum simul ante aras adstare parentem 

90 sensit, et hune propter ferrum celare ministros, 
aspectuque suo lacrimas effundere civis, 
muta metu terram genibus summissa petebat: 
nec miserae prodesse in tali tempore quibat 
quod patrio princeps donarat nomine regem: 

95 nam sublata virum manibus tremibundaque ad aras 
deductast, non ut sollemni more sacrorum 
perfecto posset claro comitari Hymenaeo, 
sed casta inceste, nubendi tempore in ipso, 
hostia concideret mactatu maesta parentis, 

100 ~—s exitus ut classi felix faustusque daretur. 


Cf. Tennyson A Dream of Fair Women: — 


‘and turning [from the vision of Helen] I appeal’d 
To one that stood beside. 


But she, with sick and scornful looks averse, 
To her full height her stately stature draws ; 
**My youth,” she said, ‘‘ was blasted with a curse: 
This woman was the cause. 


12 INTRODUCTION. 


The story of the maiden’s deliverance by the goddess through the 
substitution of a hind, and her transportation to the Taurian land, 
there to live an immortal life, was contained in the Cyprian Lays 
and the Hesiodic Catalogue of Heroic Women; but in tragedy, so 
far at least as existing plays are concerned, it is employed only by 
Euripides. The vengeance of the son, again, the holy crime, du- 
bium pius an sceleratus Orestes, exhibits an instructive variation of 
treatment in the tragic poets, as may be seen from a comparison 
of the Choephoroe with the two Electras. For our present purpose 
we have to compare, as regards this part of the ΒΕ ΠΕΣ only the 
Eumenides and the Tauric Iphigenia. 
More than one noteworthy illustration of the tendency to adapt 
ieee dramatic themes to the local Attic variations of legend- 
in the Attic ary matter may be cited from the extant tragedies. Such 
drama. is the Oedipus at Colonus of Sophocles, that solemn and 
touching drama, the sightless Theban king finding in the evening 
of his life a refuge and a grave ‘where the Attic bird trills her 
thick-warbled notes,’ — to become for all time a source of blessings 
to the dwellers in the land. So the Jon of Euripides ends in the 
exaltation of Athens,— Creusa, daughter of King Erechtheus, dis- 
covering her own child in the servitor of the Delphian temple, 
the youthful Ion, destined to be the founder of the Attic tribes 
and the Ionic race. But an eminent example, drawn from the 
myth we are now studying, is found in the Eumenides, the trial of 
Orestes by Athenian citizens on the Hill of Ares, the conciliation 
of the Furies and their enshrinement hard by the judgment-seat 
as the ‘ Awful Goddesses,’ ‘ well-wishers’ to the folk of Pallas. 


‘“‘T was cut off from hope in that sad place, 
Which yet to name my spirit loathes and fears: 
My father held his hand upon his face; 
I, blinded with my tears, 


“Still strove to speak: my voice was thick with sighs 
Asinadream. Dimly I could desery 
The stern black-bearded kings with wolfish eyes, 
Waiting to see me die. 


‘** The high masts flicker’d as they lay afloat; 
The crowds, the temples, waver’d, and the shore; 
The bright death quiver’d at the victim’s throat; 
Touch’d; and I knew no more.’’’ 


THE LEGEND. 18 


Euripides in his play touches upon some special features of the 
local myth that are not mentioned by Aeschylus, while at the same 
time he is forced to enlarge and modify the current tradition for 
the purposes of his plot. Thus we learn that the origin of a 
custom observed at the Dionysiac festival Anthesteria, a drink- 
ing-match in which each contestant drained off his one sepa- 
rate measure of wine in the midst of perfect silence, was referred 
to Orestes’ sojourn in Attica, when his hosts scrupled to spurn 
their suppliant entirely, but might not have speech of him nor 
serve him from a common wassail-bowl, by reason of his blood- 
guiltiness. So too the Athenian practice of interpreting a tie vote 
as an acquittal in cases of bloodshed is ascribed in this play to 
the precedent of Orestes, saved by Athena’s casting-vote of divine 
grace (calculus misericordiae). In the divided ,, . . 

ἢ ‘ uripides 
sentiments of the Furies, however, in the refusal of a modifies the 
certain number of the sisters to abide by the decision ics of 
of the tribunal, and the consequent further persecu- sojourn at 
tion of their victim, we probably have an innovation of Athens. 
Euripides’ own devising, in order to supply a motive for the 
mission which Orestes was popularly believed to have undertaken 
to the Taurian land.° 

There is still other local legendary matter of an interesting 
nature underlying the Tauric Iphigenia —a group of Fries 
Attic traditions and observances, the contemplation of the nucleus 
which may have first prompted Euripides to compose the ° the play. 
play. They relate to an existing cult of Iphigenia, and her original 
association or identification with the goddess Artemis herself, and 


9 The silent entertainment, vs. 947 ff. Cf ἔστι δὲ καὶ ἑορτὴ ᾿Αθήνησιν οἱ χόες. 
κέκληται δὲ ἀπὸ τοιαύτης αἰτίας. ᾿Ορέστης μετὰ τὴν τῆς μητρὸς ἀναίρεσιν ἦλθεν εἰς 
τὰς ᾿Αθήνας παρὰ τὸν Πανδίονα, συγγενῆ καθεστηκότα, ὃς ἔτυχε τότε βασιλεύων τῶν 
᾿Αθηναίων, κατέλαβε δὲ αὐτὸν εὐωχίαν τινὰ δημοτελῆ ποιοῦντα. ὃ τοίνυν Πανδίων 
παραπέμψασθαι μὲν τὸν ᾽Ορέστην αἰδούμενος, κοινωνῆσαι δὲ ποτοῦ καὶ τραπέζης ἀσεβὲς 
ἡγούμενος μὴ καθαρθέντος αὐτοῦ τὸν φόνον, ὧς ἂν μὴ ἀπὸ τοῦ αὐτοῦ κρατῆρος πίνοι, 
ἕνα ἑκάστῳ τῶν κεκλημένων παρέθηκε χοῦν. Schol. Ar. Hg. 98. 

The division of the Erinnyes, vs. 968 ff. The number of the sisters is not 
limited to three earlier than Euripides, nor by him in the present play. The 
conventional number appears in the 7’roades and the Orestes. 

The tie vote for acquittal, vs. 1469 ff. 


14 INTRODUCTION. 


to certain religious rites pertaining to the sinister and sanguinary 
functions of the moon-deity. 

‘There is a place in Attica,’ says the goddess Athena to Orestes 
Halae and ϑύ the close of the drama, as she speeds him and his 
Brauron. companions on their homeward voyage, ‘a sacred place 
called Halae by my people, on the borders of the land, neighbor- 
ing to the Carystian ridge. There do thou build a temple and 
establish this image, with a name commemorative of the Taurian 
land and thine own toils, which thou didst suffer by the Erinnyes’ 
mad chase round and round through Hellas. For men shall hence- 
forth celebrate her as Artemis Tawropolos.” And do thou also 
institute this rite: when the people hold her festival, let the knife 
be put to the neck of a man and blood drawn, to make good thine 
own sacrifice — for religion’s sake, and that the goddess may have 
honor due.’ Turning to the sister, Athena continues: ‘ But thy 
destiny, Iphigenia, is to be warder of the goddess’ temple by the 
holy terraces of Brauron. There shalt thou be buried when thou 
art dead, and offering shall be made to thee of the fine garments 
that women expiring in childbed leave in their homes.’ "ἢ 

The attention of the Athenian spectator is thus turned at the 
The last upon familiar scenes, and he is made to feel that 
dramatic § the exciting drama he has just witnessed was in truth 
ean but an episode in his own national and religious life. 
home tothe ‘Lo the modern reader the passage is historically signifi-. 
spectator. cant. It attests the existence of an ancient temple of 


10 ἐπώνυμον γῆς Ταυρικῆ ς πόνων τε σῶν, 
1485. οὗς ἐξεμόχθεις περιπολῶν καθ᾽ Ἑλλάδα 
οἴστροις Ἐρινύων. Αρτεμιν δέ νιν βροτοὶ 
τὸ λοιπὸν ὑμνήσουσι Ταυροπόλον θεάν. 


Artemis Tauropolos, “goddess of the kine” (cf. Soph. Aj. 172) was in fact 
distinct from the sanguinary moon-goddess of the Taurian people, but the two 
came to be identified, by one of the pranks of ‘language gone mad.’ Euripides 
in the passage quoted is not responsible for the confusion, but only for the 
precise form into which he here throws the play upon words. 

11 The whole passage vs. 1446-1467. The Halae meant is ᾿Αλαὶ ᾿Αραφηνίδες, 
so named as belonging to the deme of Araphen, in distinction from ‘Adal Αἰξω- 
vides on the SW. coast near Athens. The former place is not far south of 
Marathon, on the coast opposite the southern extremity of Euboea, as indicated 


* 


THE LEGEND. 15 


Artemis Tauropolos at Halae Araphenides, containing an image of 
the goddess supposed to have been taken from the Taurians by 
Orestes, together with a symbolical rite indicative of an early 
custom of human sacrifice. It also notices a cult of Iphigenia at 
Brauron, the peculiar character of which points clearly to her iden- 
tification with the goddess of the moon. By the puzzling one 
but not unfamiliar processes of mythology, the distinct logical 
divinities Artemis and Iphigenia become first identified *#sIe- 

or combined, and then separated in such wise that the latter is 
viewed as ministrant to the former, one or another of these 
phases attaining prominence in this or that locality. Again, 
the sacrificing maiden becomes the maiden sacrificed, the divine 
or semi-divine is transformed into the human, Artemis-Iphi- 
genia appears as Iphigenia the daughter of Agamemnon, the usual 
Greek version of the Tauric legend exhibiting a fusion of both 
views.” 


by the words γείτων Seipddos Kapvorias vy. 1451. Brauron lies a little further 
south, away from the sea. It is enumerated by Strabo ix. 397 among the 
twelve ancient communities into which the Attic population is said to have 
been apportioned by Cecrops. 

12 Venturing further into this labyrinth of aetiology, Agamemnon himself, 
the ‘red slayer’ who thought he slew, vanishes in a sun-myth — the inevitable 
Minotaur of mythological research. See Wecklein’s Einleitung, p. 5. 

Herodotus iy. 103 calls the Taurian deity ‘the Maiden’ simply, and says 
the Taurians themselves declared that the goddess to whom they sacrificed 
shipwrecked Greeks, was Iphigenia the daughter of Agamemnon. ‘The barba- 
rians must have derived this story from the Greeks. 

It is as the goddess of the moon (φωσφόρος θεάν. 21), with her menstrual 
influence, that Artemis or Hecate comes to be the deity of childbirth (Apreus 
Aoxeia). The original name of the Brauronian divinity was doubtless “Apreuis 
᾿Ιφιγένεια, an appellation known in other parts of Hellas, cf Paus. II. xxxy. 1. 


- Perhaps the etymology of ig:-yev-era should be interpreted with reference to 


the function alluded to, v. 1466. 

Pausanias ILI. xvi. 7 speaks of the image at Brauron as that supposed to 
have been brought to Attica by Orestes and his sister. He relates that the Per- 
sians carried off the Brauronian effigy to Susa. Had Xerxes only got hold of 
the right ξόανον, the one that fell down from the sky among barbarians and 
was filched from them by enterprising Greeks, there would have been a cer- 
tain poetic justice in its recovery, 


16 INTRODUCTION. 


PLoT AND ScENIC ADJUSTMENT. 


Greek plays, as a rule, are characterized by extreme simplicity 
of design. The present tragedy is comparatively elabo- 
The plot ‘ Z ‘ 
not simple, Tate and complex in respect of the plot. To its finished 
but compli- intricacy of plan the play owes largely its unfailing 
cated. 
charm; and some of the secrets of the spell may be 
detected by the help of the pertinent observations in Aristotle’s 
Treatise on Poetry. There are two essential features, by one or 
both of which the more ‘ complicated’ tragic plots, as defined by 
ἀναγνώρ-. Aristotle, are invariably marked. The περιπέτεια is a 
σις and sudden and unexpected change from good to bad for- 
περιπέτεια. tune, or the reverse. The ἀναγνώρισις is a change from 
ignorance to knowledge, generally as regards persons, for worse 
or for better. Intensity of interest, the philosopher maintains, 
depends upon these elements more than upon anything else in 
tragedy. Such plays as the Oedipus Tyrannus of Sophocles and 
the Iphigenia Taurica of Euripides, with their combined and inter- 
WOVEN ἀναγνώρισις and περιπέτεια, are, he would say, ceteris paribus, 
the most fascinating of dramas,“— the one with its woeful, the 
other with its joyous, issue, but both equally ‘ tragedies’ in the 
ancient sense: the Theban ruler, hurled to infamy and despair 
from the very pinnacle of lordly power and magnificence, through 


Bra μέγιστα οἷς ψυχαγωγεῖ ἣ τραγῳδία τοῦ μύθου μέρη ἐστίν, αἵ τε περιπέτειαι 
καὶ ἀναγνωρίσεις Arist. Poet. vi. The μῦθος or “plot” is defined by Aristotle for 
this connexion as 7 τῶν πραγμάτων σύστασις OY σύνθεσις. To the μῦθος he gives 
the first rank in importance in the composition of a tragedy, assigning a 
secondary place to the ἤθη (“character”). This dictum seems remarkable in 
view of the strongly inductive method of the Poetic on the one hand, and on 
the other hand the comparatively small number of ‘complicated’ plots among 
the tragedies that we possess. It explains the critic’s predilection for the 
Oedipus and the Iphigenia as illustrative examples — and yet these are the 
most modern of dramas in design. Aristotle, however, does not undervalue 
ethical portraiture; a characterless fiction was as odious to him as tous. He 
merely insists that the tragic poet starts to dramatize an event, not to repre- 
sent character. If the event be dramatized with genius, the appropriate char- 
acters are evolved as a matter of course. Nothing could be truer. Persons 
created for the sake of talking, and not because there is something for them 
to do, are wearisome on any stage, 


PLOT. hy 


the discovery of his own parentage and of the shocking unnatural 
crimes he has allowed himself in ignorance to commit; and, on 
the other hand, the much-tried son of Agamemnon, weary of life, 
and resigning himself to a cruel death, only to recognize a long- 
lost sister in the priestess at the blood-stained altar, and thus 
finally to crown with peace the sorrows of Pelops’ wretched line. 

Those tragedies in which an ἀναγνώρισις is to be expected are 
naturally the most powerful to enhance the attention of the spec- 
tator. In the first place, a condition of suspense is gen- 
erated in his mind, as he anxiously awaits the approach- 
ing inevitable discovery of the truth, and the consequent change 
of fortune; while, again, he is placed at an advantage as regards 
the persons of the play, knowing that of which they are ignorant, 
and looking pitifully down upon the groping victims of fate and 
circumstance. The poet will aim to prolong and gradually to inten- 
sify the suspense of his auditors, by means of a steady convergence 
of the lines of action toward the point of ἀναγνώρισις, its actual 
consummation being deferred until the latest possible moment. At 
the same time he will bring the various kinds of dramatic 
irony to bear upon their thoughts. In our play the spec- 
tator is introduced first to Iphigenia. He learns of her office as 
ministrant to the barbaric deity, of her loathing for the inhuman 
rites over which she is constrained to preside, and he hears from 
her lips the recital of her dream. <A dream has convinced her 
that her brother Orestes — he upon whom so many of her yearn- 
ing thoughts and vague hopes have been centred —is no longer 
among the living, and she has summoned her attendants to assist 
in pouring a libation to his shade. The spectator’s knowledge 
of Iphigenia’s delusion in supposing her brother dead illustrates 
the simplest form of dramatic irony; and one of its first effects 
is to modify in a singular way the pathos of the ceremony that 
presently follows, — the mortuary offering, with the dirge chanted 
by Iphigenia and her maidens for Orestes’ soul. The same 
irony is at work again when Orestes and Pylades are otieriys A 
seen reconnoitring the temple, not dreaming who is present 
priestess there. Their entrance institutes the second of early in 

: 2 A P the play. 

the convergent lines of dramatic action, — parallel lines 


Suspense. 


Trony. 


18 INTRODUCTION. 


at the outset, we should perhaps call them, but productive of sus- 
pense, as pointing, however vaguely, to an ultimate recognition 
and reverse. | 

A second stage in the development of these spiritual impressions 
on the part of the spectator is reached when the capture 


Intensified . i i 

eee *" of the youths is reported to Iphigenia, and she muses 
ee on their impending fate, presently to be fulfilled through 
prow’ Ney own instrumentality. ‘Poor heart! once wast thou 


toward victims ever unruffled and compassionate, meting out to 
kindred race the bounty of a tear, so oft as men of Hellas fell into 
thy hands. But now, such is the dream that has embittered me, 
telling me that Orestes lives no more, hard-hearted will ye find 
me, ye new-comers, whoever ye may be!’ ‘Thus on the one occa- 
sion of sorest need for the humane sympathies of the priestess, 
she misinterprets the dream, which, if read aright, would have 
been a warning to her;’* and her generous impulses seem to be 
deadened by the intensity of her regret for the very person who is 
immediately to require them, and who properly should, above all 
other men, call forth their exercise. The spectator is stirred with 
apprehension in view of the possible results of Iphigenia’s attitude. 
There is a heightened stress of both suspense and irony. 

Tragic irony of the sort just considered is a privilege of the poet 
ΤῈ βρθο. and his auditors at the expense of all the personages of 
tator atan the drama without exception. It is illustrated even in the 
advantage choral ode that fills the interval before the expected vic- 
τὐλνλμς, tims are led into the presence of the priestess. The specta- 
dramatis ΤΟΥ might answer-well the question, ‘What Greeks are they 
perso’ who have come to the Unapproachable Land?’ And he 
is thrilled with a hope that to the chorus themselves is but a hope- 
less fancy, as they sing, ‘How sweet the tidings, had but some mari- 
ner from Hellas come, to end the weary servitude of miserable me!’ 

The above remarks will serve to guide the student in tracing 
further effects of suspense and irony in the masterly scene of 


14 The spectator naturally interprets the dream vs. 44-55 of the impending 
event, not (like Iphigenia) of something supposed to have already occurred. 
— The passage quoted is vs. 844-350, the lines paraphrased in the next para- 
graph, vs. 399 ff., 447 ff. 


PLOT: 19 


Orestes and Pylades as doomed victims before Iphigenia. The 
ἀναγνώρισις contained in this scene must now be considered, form- 
ing as it does the most significant feature of the passage, and, 
indeed, the turning-point of the whole drama. With the yethoa of 
utmost dexterity and naturalness, the recognition between the ἀνα- 
brother and sister, repeatedly brought to the verge of 7”°?? 
consummation, is repeatedly withheld and prevented, and yet 
is steadily approached by irretrievable steps. ‘The discovery of 
Iphigenia to Orestes is of the sort pronounced by Aristotle the 
most artistic, as being a direct outcome of the dramatic action, 
producing its startling effects through a series of wholly probable 
occurrences.” It is the comely presence of the youthful pair, 
whom she takes for brothers, that recalls Iphigenia to her wonted 
sympathy and tenderness of heart. The singular mood and bear- 
ing of Orestes, — him of whose delirium she has heard so strange 
a tale; the demeanor manifested by the life-weary, remorseful 
man, in his response to her expressions of pity, —this it is that 
arouses her curiosity, brings out the fact that he is a native of 
Argos, and leads to the conversation upon affairs in Greece, 
whereby she learns the deplorable deaths of father and mother, 
yet that Orestes lives! ‘False dreams, farewell!’ Then follows 
the proposal of the letter which Iphigenia has long wished to 
despatch to Argos, as now it may indeed be conveyed by one 
of the captives before her, his life to be spared in compensa- 
tion for the errand. And next, after the contest of friendship, 
ending in Orestes’ victory, comes the exquisite moment when 
Pylades, doomed to live and bear the missive, demanding an oral 
statement of its contents against the possible loss of the tablet in 
the waves, hears the astounding revelation, and redeems on the 
spot his happy pledge of faithful messenger, — ‘ Orestes, a letter 
from thy sister here !’ 


16 πασῶν δὲ βελτίστη ἀναγνώρισις ἡ ἐξ αὐτῶν τῶν πραγμάτων, τῆς ἐκπλήξεως 
γιγνομένης δι᾽ εἰκότων, οἷον ἐν τῷ Σοφοκλέους Οἰδιπόδι καὶ τῇ ᾿Ιφιγενείᾳ " εἰκὸς yap 
βούλεσθαι ἐπιθεῖναι γράμματα. Arist. Poet. χνὶ. --- Τῦ is to illustrate one of the 
methods of ἀναγνώρισις, the sort by ‘reasoning’ (ἐκ συλλογισμοῦ), that the 
work of Polyidus ‘the sophist’ is cited, where the discovery of Orestes to 
Iphigenia resulted from the natural reflection by the former that ‘his sister 
had been sacrificed, and now it was his own fate to be sacrificed likewise.’ 


20 INTRODUCTION. 


Through the mutual recognition of the friends, the περιπέτεια is 
clearly instituted. A single turn of the wheel of fortune has shifted 
the whole vista before the sad eyes of the Pelopidae. ‘Their 


δέσις 
and new joy half blinds them to the common-place trials that 
AUCH. still beset their path. Thus far, the threads of the drama 


have been steadily drawn closer and closer, but now the time has 
come for the reversed process, the untying of the knot. There is 
a brief neutral period, occupied by the spontaneous outflow of feel- 
ing natural to the occasion; the transition to the dénowement is 
marked by the intervention of Pylades, who recalls his rapt com- 
panions to their senses, and reminds them of the grave task that 
awaits their hands.’® All danger is indeed not over, though the 
horrors be past that were to be apprehended from the nearly fatal 
misunderstanding among the loved ones themselves. In the solu- 
tion of the impending difficulties the poet has contrived so to retard 
the action that the spectator’s suspense is not suddenly relaxed, 
though modified in quality. Moreover, the stratagem directed by 
the wily Greeks against the unsophisticated foreign king affords an 
opportunity for a new phase of dramatic irony. ‘The plain but 
deeply effective irony that consists in the superior knowledge of 


16 Pylades’ words, .vs. 902-908.— The terms δέσις (or πλοκή) and λύσις are 
employed by Aristotle, λέγω δὲ Séow μὲν εἶναι τὴν am ἀρχῆς μέχρι τούτου τοῦ 
μέρους ὃ ἔσχατόν ἐστιν, ἐξ οὗ μεταβαίνειν εἰς εὐτυχίαν. . . , λύσιν δὲ τὴν ἀπὸ τῆς 
ἀρχῆς τῆς μεταβάσεως μέχρι τέλους Poet. xvi. —Interesting is a remark in the 
same chapter to the effect that many poets tie their knot with success, but 
make a failure in the untying, πολλοὶ δὲ πλέξαντες εὖ λύουσι κακῶς, 1.6. AS We 
should say, they do not show. themselves capable of sustained work. The Jphi- 
genia is admirably sustained, considering the height that is reached in the 
scene of recognition. Patin Etudes sur les Tragiques Grecs iii. 298 finds fault 
with the poet for letting the spectators into the secret of the plan of escape 
beforehand, instead of surprising them by the representation of its execution 
only. He also deems it too certain of success to command interest. The plan, 
however, is proved by the sequel to have been hazardous enough, and as for 
the credulity of Thoas, I find it well-grounded, as it is certainly delectable. 
As the play stands, the spectator has the satisfaction of identifying himself 
from the first with the framers of the stratagem: he seems to be helping them 
to think it out, as he hears it unfolded; he shares their anxiety for its safe 
issue; enjoys with them (probably more than they) the first- successful trial 
of it upon the king; and finally is left in suspense during the stasimon that 
follows, until the messenger arrives with his story of the finish. 


PLOT. 21 


the spectator to that of all the personages, is necessarily present 
to some extent in every dramatic work. There is also & fyony of 

subtle verbal manifestation of the same principle, which equivoke. 

was relished with high zest by a Greek audience. It is exercised 
by the persons represented, at the expense of each other, as one 
‘set plays upon the ignorance of a second by means of equivocal 
utterances, whose ambiguous meaning is apparent to the spectator, 
but not to the party for whose hearing it is intended. Or some- 
times the victim is himself the unconscious mouthpiece of this irony 
of the double tongue, letting fall words that knell ominously to 
initiated ears. ‘A clever child of Hellas thou!’ exclaims Thoas, 
when apprised by Iphigenia of her alleged means of discovering a 
source of pollution to the goddess and her temple. And as the 
priestess bearing the idol passes forth, followed by the veiled cap- 
tives, to perform, as Thoas supposes, the solemn rite of lustration, 
but in reality to take ship and transport the divine image to a 
Grecian home, Iphigenia thus prays in the hearing of the Taurians : 
‘Thou daughter of Zeus and’ Leto, virgin queen, if indeed these 
guilty stains I wash away and do sacrifice where it is meet, pure 
shall be thy dwelling-place and happy mine own lot.’ What the 
barbarian understands of the priestess and her charge, duly rein- 
stated in the purged temple, means to the spectators of the scene 
Athens and the deliverance of Iphigenia. The prayer concludes : 
‘The rest, though I say it not, I betoken clear to Heaven that 
knoweth the unsaid, Ὁ Goddess, and to thee.’ Here, the gods, 


1 Vs. 1290 ff.; the exclamation of Thoas ν. 1180. Attention is called in 
the notes to the other equivocal expressions in the scene. — The term irony, as 
employed in this Introduction, was perhaps first systematically applied to dra- 
matic matters by Bishop Thirlwall On the Jrony of Sophocles, in the Philological 
Museum, 1893, vol. ii. No better word could be found to connote the various 
phenomena through which this deep-seated principle of dramatic and indeed 
all artistic fiction manifests itself. The propriety of its application is seen 
from Aristotle’s plain definition, προσποίησις ἡ μὲν ἐπὶ τὸ μεῖζον ἀλαζονεία καὶ ὁ 
ἔχων αὐτὴν ἀλαζών, ἡ δ᾽ ἐπὶ τὸ ἔλαττον εἰρωνεία καὶ εἴρων Eth. Ν΄. 11. vii. 12. Thus 
εἰρωνεία is the attitude of him who knows more than he will say, the attitude 
appropriate to superior knowledge and the power vested in superior knowledge. 
We speak of the ‘irony of fate,’ implying the existence of some possessor of 
a prescience competent to save us from our now inevitable ills. Irony is a 
feature of primitive religious conceptions, and its most incisive exemplification 


22 INTRODUCTION. 


the Greeks, and the spectator stand on a common vantage-ground, 
over against the Scythian wrecker with his sacrifices of men. 
Aristotle has a word to say of the care to be exercised by the 
tragic poet in adjusting the details of his plot to the exigencies of 
the stage. In truth the ancient playwright labored under 


Stage : : 
require- restrictions which, at times, must have seriously ham- 
a ἡ pered him in the work of composition. The number of 


regular actors being limited to three, with strict gradation as to 
rank, the poet was forced to suit this circumstance as best he 
could in distributing the parts and arranging the succession of dia- 
logues. One cannot but admire the tact often displayed in meet- 
ing these requirements. In the present tragedy, the protagonist 
Distrib. Performed the parts of Iphigenia, who appears in every 
tion ofthe scene but two, and Athena. The deuteragonist had the 
per: parts of Orestes, the herdsman who relates the story of 
the capture to Iphigenia, and the messenger who reports to Thoas 
the escape. The tritagonist, finally, played Pylades and Thoas. 
The poet was also obliged to adapt his work to certain traditions 
of the theatre regarding scenery, entrances and exits, and the like, 
necessary for the guidance of the spectator. A disregard of these 
simple conventionalities, in any essential point, might produce the 
effect of inconsistency or impossibility ; as for example, the Athe- 
nians are said to have hissed a tragedy of Carcinus, because his | 
Amphiaraus was found to have gone out of the temple which he 
had entered, without being seen by the spectator to leave 1.5 Our 


is found behind Greek literature, in the Greek oracles. The Delphian god 
knew perfectly well who were the real parents of Oedipus, and in what direc- 
tion the anxious inquirer ought to have turned his steps as he departed from 
the shrine, in order to avoid the fearful consequences of which he was warned. 
So in admonishing Croesus that by crossing the Halys he would destroy a 
great empire, Apollo with irony left it to Croesus in person to find out by 
trying, which great empire —his own or that of Cyrus—he should destroy. 
Thirlwall well describes the dramatic poet as so working ‘that a faithful image 
of human existence may be concentrated in his mimic sphere. From this sphere 
he himself stands aloof. The eye with which he views his microcosm . . . will 
be that with which he imagines that the invisible power who orders the destiny 
of man might regard the world and its doings.’ 

18 δεῖ δὲ τοὺς μύθους συνιστάναι καὶ TH λέξει συναπεργάζεσθαι ὅτι μάλιστα πρὸ 
ὀμμάτων τιθέμενον" οὕτω γὰρ ἐναργέστατα 6 ὁρῶν, ὥσπερ παρ᾽ αὐτοῖς γιγνόμενος 


PLOD 23 


present knowledge, however, of the details of ancient stage arrange- 
ment is very imperfect, and we are left largely to conjecture as to 
their flexibility of adaptation to plays of peculiar and unusual 
design. In the Iphigenia, the back-scene represents the 
temple of the Taurian Artemis, with the high altar in 
front. Iphigenia, who as priestess occupies apartments in the 
temple, enters and withdraws by the main door appropriate to the 
protagonist. The chorus enters the orchestra by the fntrances 

parodos on the right of the spectator, that is, from the 4nd exits. 

home-side. ‘The other entrances and exits are uncertain, but we 
incline to the view that Orestes and Pylades, foreigners on a fur- 
tive errand, approach the scene from the left, and go out the same 
way, after reconnoitering the temple. ‘The herdsman who announces 
their capture also enters from the left, from that side the victims 
are led in to the priestess, and on that side the lustral procession 
departs for the remote and lonely shore desired for the ceremony 
—where the ship of Orestes is moored in concealment. But Thoas 


The scene, 


Tots πραττομένοις, εὑρίσκοι τὸ πρέπον, kal ἥκιστα ἂν λανθάνοι Ta ὑπεναντία. σημεῖον 

δὲ τούτου ὃ ἐπετιμᾶτο Καρκίνῳ - 6 γὰρ ᾿Αμφιάραος ἐξ ἱεροῦ ἀνήει, ὃ μὴ ὁρῶντα ἂν 
τὸν θεατὴν ἐλάνθανεν, ἐπὶ δὲ τῆς σκηνῆς ἐξέπεσε, δυσχερανάντων τοῦτο τῶν θεα- 
τῶν. Poet. xvii. 

The arrangement of entrances and exits assumed above implies a possibility 
of communication imagined between the right and left sides, in the rear of the 
temple, since the prisoners are taken directly to the king, without first crossing | 
the stage, and the herdsman comes at one and the same time both from the 
king and from the scene of capture (cf. vs. 236, 333 f.). Such communication 
is not precluded by the fact that the sea flows up to the temple (v. 1196) ; it is 
pedantical to press that circumstance so closely. Schoenborn, Skene der Hel- 
lenen, however, is led by this consideration to place nearly all the stage-entran- 
ces on the left, while Wecklein places them all on the right, giving the further 
reason that persons coming from abroad by sea regularly enter on that side. 
Even if the evidence on these matters were fuller and clearer than it now is, I 
should hesitate to believe that in a tragedy like the [phigenia a completely 
one-sided arrangement of entrances would have been tolerated by the spec- 
tators. In this play the sea is everywhere, it lies on the left as well as on the 
right, but the parts of it with which the action is most concerned are remote and 
hidden. A regular city port (τὰ ἐκ πόλεως, μάλιστα τὰ ἐκ λιμένος) is not to be 
thought of, at least on the side whence the two interlopers make their appear- 
ance. Probably the shore was not represented at all in the scenery. That 
Orestes and Pylades have come by ship is made known at once (v. 70); the 
spectator is not left to infer that from the direction of their entrance, 


24 INTRODUCTION. 


enters on the right, the home-side, on which his residence is con- 
ceived as lying. The temple should be regarded as so placed that 
its votaries might approach it from either side. 


ARTISTIC STRUCTURE. 


The Greeks have furnished the instruments for probing and 
dismembering the productions of their own genius. 


Critical 
theories Greek tragedy, in particular, after giving to the world 
Rey a perfect model, in the most tangible form, of what is 


from Greek essential to a highly composite work of art, called forth 
mages: among the ancients themselves the exuberant satire and 
the incisive logical analysis from which modern criticism has been 
Instructive. learned. ‘The works of Euripides form a most instruc- 


ae és , _ tive body of concrete material for the test and illustra- 
eiart: tion of critical theory. Reflecting as they do the move- 
ties, ments of a transitional period not only in matters of art, 


but in the history of human thought; and emanating from a mind 
in which the synthetic impulses of the poet were liable to frequent 
disturbance by conscious speculative ratiocination; unequal in 
themselves and among themselves, yet bearing the common im- 
press of an unmistakable individuality, they alternately delight 
and repel the reader, as they furnish the very contrasts whereby 
their faults and merits are most vividly revealed. It is a pleasant 
task to scrutinize, as we have to do at present, the structure of a 
play marked by the minimum of defect; in which the best and 
truest, if not the most strongly characteristic, side of the author’s 
genius is turned outward. 

If the study of the Greek drama were to be historically conducted, 
that some familiarity with Aeschylus and Sophocles might be ac- 
quired before passing to Euripides, the learner’s attention would 
be arrested on first taking up a work of the younger poet by the 
Euripidean strangeness of its beginning. Paradoxically stated, the 
prologue, spectator of a Euripidean tragedy has to sit out a portion 
vs. 1-66. οὗ the performance before the performance begins. The 
first forty-one lines of the Jphigenia form no part of the dramatic 
proceedings. They assume an audience, and are addressed imme- 


, ἐς 


ARTISTIC STROCTUORE. "95 
diately to the spectator, for the purpose of instructing him in 
regard to the antecedent legendary history and the situation of 
affairs at the opening of the play. The remainder of: Iphigenia’s 
speech, containing the recital of her dream, is less open to censure, 
because the dream with its influence is directly concerned with the 
action, and moves the priestess to unburden her mind under the 
open sky. ‘There is also a motive for her appearance in the sum- 
mons that has been issued to her attendants, whose coming she 
expects. But the whole passage is inorganic. ‘The better part of 


it might have been thrown into the form of a dialogue, like that 


between the two sisters at the beginning of Sophocles’ Antigone ; 
or else the play should have opened where its action really begins 
now — leaving the information which has been thus explicitly prof- 
fered in advance to be conveyed indirectly through the progress of 
the drama itself. Implicitness is the very soul and conscience of 
serious dramatic workmanship; and the Euripidean prologue 
is none the less flagrant an offence against principle and good 
taste because it came to be tolerated as a convenient trouble- 
saving device. Loose innovations of this character soon be- 
come settled habits. Except for the habit, the present tragedy 
would hardly have taken on such a gratuitous appendage. The 
play is so finely constructed that with but the slightest further 


19 The business of tragedy is serious representation (μίμησις πράξεως σπου- 
daias). Comedy, which is not serious — however much in earnest the comic 
poet may be—is always conscious of an audience, and may at any moment 
deliberately interrupt the illusion of the scene to address the spectator, for 
the sake of ludicrous effect or for any other reason. But we do not find 
the Greek comedies beginning with an explicit address to the audience, before 
any scenic illusion has been started, because that would produce no incon- 
gruity, and, unless a distinct parody, would not be funny, but only flat. It is 
this flat tastelessness at which Aristophanes really aims when he opens fire 
upon the monotonous genealogical detail in the prologues of Euripides (7d 
γένος τοῦ δράματος Ran. 946) Ach. 47 ff., Ran. 1177-1247. The lekythion passage 
has nothing to do with any peculiarity in Euripides’ verse; the ληκύθιον ἀπώλε- 
σεν would apply just as well to Aeschylus or Sophocles, as far as the metre is 
concerned; but, as it happens, it does not fit on to the beginning of one of 
their extant plays, because not one of them begins with the name of a man, 
woman, or child in the nominative case. 


μ᾿ oes 
5 ae De 


26° INTRODUCTION. 


elaboration the idle preface might have been replaced by an 
organic scene.” 

All things are particularly exposed to corruption at their extremi- 
ΠΕΡ ties. Of a piece with the otiose prologue is the interven- 
machina. ing god, who is prone to intrude himself under one form 
or another at the close of a Euripidean tragedy. The comment of 
Aristotle is simply that the solution of a plot ought to be an out- 
come of the plot itself and should not be effected by stage- 
machinery. But recourse may be fairly had to supernatural 
agency, he goes on to say, in regard to matters either anterior 
or subsequent to the action of the drama.*' The intervention in 
the Iphigenia is due in but slight measure, as was remarked of the 
prologue, to want of elaboration or poverty of invention. There 


20 The passage criticised forms only a part of the πρόλογος, which includes 
the dialogue of Orestes and Pylades. The technical divisions of the play are 
exhibited in the table below. The names are derived from Arist. Poet. xii., 
and it is to be noted that they all have reference to the chorus, the original 
nucleus of tragedy. The parodos is its first song on entering the orchestra; 
the other odes of the entire chorus are called stasima. The prologos is all that 
precedes the parodos, the epeisodia are the acts that intervene between the 
stasima, and the exodos is what follows the last stasimon. A ‘commos’ is a 
lamentation in the form of a lyrical dialogue between actor and chorus. Lyri- 
cal passages of actors only are called ‘songs from the actor’s station. Nine 
is the normal number of main divisions of a tragedy. 


I. πρόλογος, vs. 1-122. 
11. πάροδος, vs. 123-235. 
(κόμμος, vs. 145-235.) 
Ill. ἐπεισόδιον πρῶτον, vs. 236-391. 
IV. στάσιμον πρῶτον, vs. 892-455. 
V. ἐπεισόδιον δεύτερον, vs. 456-1088. 
ἀνάπαιστοι κορυφαίου, vs. 456-466. 
κόμμος, Vs. 643-656. 
μέλος ἀπὸ σκηνῆς, vs. 827-899. 
VI. στάσιμον δεύτερον, vs. 1089-1152. 
VII. ἐπεισόδιον τρίτον, vs. 11538-1233. 
VIII. στάσιμον τρίτον, vs. 1234-1288. 
IX. ἔξοδος, vs. 1284-end. 


21 φανερὸν οὖν ὕτι Kal Tas λύσεις τῶν μύθων ἐξ αὐτοῦ δεῖ τοῦ μύθου συμβαίνειν, 
καὶ μὴ ὥσπερ ἐν τῇ Μηδείᾳ ἀπὸ μηχανῆς . . . ἀλλὰ μηχανῇ χρηστέον ἐπὶ τὰ ἔξω 


τοῦ δράματος ἢ ὅσα πρὸ τοῦ γέγονεν, ἃ οὐχ οἷόν τε ἄνθρωπον εἰδέναι, ἢ ὅσα ὕστερον, 


pa un ica LIBRARY 
Endre, STEROL ARS. 27 


are, however, in reality two resolving agencies extraneous A double 
to the plot. Besides Athena, who is introduced to check jnterfer- 
the vengeance of Thoas, save the captive women, speed °° 
the heroes on their return, and foretell the sacred honors that 
await them on Athenian soil — besides the gracious divinity of the 
formal close, there is the ‘refluent billow’ (v. 1397) that tosses 
back the flying ship with its brave crew into the very hands of the 
baffled Taurians, who thank Poseidon, the enemy of Troy’s con- 
querors, for their luck. It jars the intent and sympathizing spec- 
tator, who has watched the shrewd manceuvres of Iphigenia, and 
has seen the youths through their unequal fight at the shore and 
their spirited embarkation and start, to be thus rudely put about 
by such a perfectly unexpected gratuitous dash of wind and water. 
For this secondary deus, however, the Goddess in chief is responsi- 
ble. Poseidon is here in the service of Athena, and the motives 
of the concluding scene must be severally examined, in order to 
judge of it rightly as a whole. 

The poet appears to have been influenced by three considera- 
tions : first, a feeling that the oracle of Apollo, ordaining Three 
the removal of the image, ought not to seem fulfilled motives for 
through stratagem and theft; second, a regard for the Pee 
promise made to the captive women, that they should be vention. 
restored to Hellas and freedom; third, the desire to introduce the 
prophecy concerning Attic institutions, whose origin is traced to 
the events of the drama. 

That the first-mentioned consideration was sensibly felt, is clear 
from the doubts expressed by Iphigenia herself (vs. 995, Apollo? 

Big ΟΝ pollo’s 

1400). Orestes’ answer to his sister’s scruples is sincere oracles not 
(vs. 1012 ff.), and, naturally, satisfactory to himself and a 
_Pylades; but it is highly creditable to Euripides that he Sein 
should not have allowed the priestess summarily to dis- deceit. 


ἃ δεῖται προαγορεύσεως καὶ ἀγγελίας. ἅπαντα yap ἀποδίδομεν τοῖς θεοῖς ὁρᾶν. Poet. 
xv. Cf. Horace’s celebrated epigrammatic statement of the principle : 
nec deus intersit, nisi dignus vindice nodus 
inciderit. De arte poet. 191. 
The last part of Aristotle’s remark applies exactly to the third motive treated 
above. 


28 INTRODUCTION. 


miss the scruple from her mind, and likewise that he should have 
deemed the barbarian ruler entitled to the satisfaction of hearing 
the divine sanction. Indeed, the enlightenment of Thoas is even 
artistically required. Barbarian or Greek, — and Thoas was, after 
all, created only half a Taurian, —the spectator would like the 
man brought to see that something higher than mere human trick- 
ery had been put upon him. Yet nothing short of a celestial man- 
date could ever have convinced the king.” 

As regards the second motive, again, the necessity of delivering 
ἐπ Λα the chorus, it is hard to see how that end could have 
for the been reached by human agency within the lines of the 
chorusas = plot. And yet, even apart from the rash promise of 
i Iphigenia (v. 1068), to abandon the faithful creatures 
to their fate would have been intolerable. ‘The knot must be 
untied, and only a god is competent to untie it. It were hyper- 
critical to censure this, for the fault, if it be one, is the result of a 
certain organic excellence. We fancy that Euripides himself must 
have been touched with surprise as often as he found a chorus 
upon his hands for whose fate the most humane of audiences would 
feel the least concern. 

The desire to gratify local patriotic and religious sentiment is 
Cratifica, [6 leading motive for the entrance of Pallas Athena. 
tion of local The motive is also characteristic of the poet, and nowise 
sentiment. reprehensible as the result of any shortcomings of artistic 
construction. The modern reader cannot adequately reproduce 
the feelings stirred by this final scene in the Athenian spectator’s 
breast. We may, however, so far sympathize with the poet who 
indulged them, as not to find distasteful the local flavoring which 
is here and elsewhere so perceptible in Attic tragedy, with all its 
splendid universality. Even on the score of unity, the three mo- 


22 The situation at the end of the Philoctetes of Sophocles is similar, if by 
any effort Thoas and Philoctetes can be thought of at the same moment. 
There, however, it is shown naturally by the course of the drama itself that 
the oracle is not to be fulfilled by the help of human deceit, since one of the 
participants in the theft is led to repent, after successfully achieving it, and 
makes amends by giving back the bow to its owner. Here, the interruption to 
the final success of the stratagem is extraneous and violent, as we have seen. 


ARTISTIC STRUCTURE. 29 


tives are so closely interwoven, and the whole ending is so firmly 
knitted on to the body of the play, that we forget Poseidon’s rude- 
ness and enter genuinely into the refined and beneficent spirit of 
the conclusion.” , 

Narratives of messengers, the most familiar embodiment of the 
strongly marked epic element in all Greek plays, assume Ἐρίο 
renewed importance in Euripides. How high a place in element. 
the dramatic economy was originally held by mere narration, is 
indicated by the earliest tragedy of known date which The ῥῇσις 
we possess, the Persians of Aeschylus (472 B.c.), with ἀγγελική. 
its scene laid at the Persian capital, and Hellas for the background 
of events. The epic element exhibits great variety both in form 
and extent, as we compare the extant tragedies with one another, 
until we find a fixed type in the later works of Euripides. Incom- 
parable specimens, it is true, may be cited from the Soph- ὑπο δος 
oclean drama, yet the ῥήσεις ἀγγελικαί of the younger ons in 
poet were admired in proportion as they were character- Purpides. 
istic and plainly the result of a strong predilection and aptitude. 
Besides the rapidity, naturalness, and graphic energy of the de- 
scriptions, the admirable clearness of the Euripidean style helped 
them to a deserved popularity. ‘The performances in the orchestra 
had shrunk to such narrow dimensions as to leave room for any 
sort of amplification on the actor’s part. The tendency towards 
_realism also would naturally enlarge the function of the messenger 

in the drama. The ancient theatre, with its burden of conven- 
tional and mechanical restrictions, afforded slight opportunity for 
the scenic representation of any complicated action, however wel- 
come such spectacles might have been to the public. Their place 
must be supplied by spirited narration. Hence, in passing from 
the ἠθοποιία of Sophocles to the scenes of romantic adventure of 
which our poet latterly became so fond, we find the discourse that 
mirrors each performer’s whole inner play of thought and impulse 
dividing the ground with vivid recitals of their deeds. 


23 A deus ex machina for the sake of 'Thoas and the chorus only, would have 
seemed highly crude and forced. It is better that the first two motives should 
be merged as they are in the third and inoffensive one. It is pleasant to see 
Athena with her hands so full of really important business. 


90 INTRODUCTION. 


The messenger’s narrative in most tragedies concerns the events 
of the catastrophe, less commonly the earlier part of 
Messenger ; : ‘ : : : 
for both the action. In the Tauric Iphigenia, as likewise in the 
δέσις διὰ Helen and the Bacchantes, there is a messenger both 
ae before and after the περιπέτεια. 

The first of the two narrations occurs in the first epeisodion — 
Fine eee the event with which it is concerned, the capture of 
tion, vs. Orestes and Pylades by the Taurians, forming a sequel 
260-339: to the movements of the two youths exhibited in the 
prologos, and coinciding in time with the performance of the mort- 
uary ceremony in the parodos of the play. Inasmuch as the mes- 
senger sent by the king to order preparation for the sacrifice is 
one of the herdsmen who effected the capture, his account is not 
only that of an eyewitness, but of a participant who recalls with 
zest the smallest particular of the exciting affair. The impres- 
sions left upon his senses by the spectacle of the strange delirium 
of the Fury-haunted youth, by the gentle services of the devoted 
Pylades, by the stout defence of the pair against overwhelming 
numbers, — these impressions the rustic conveys to Iphigenia and 
the astounded chorus with such naive force that the story seems to 
ΑΕ be the deed itself. Rapid epic recital is in truth artis- 
advantage tically more effective, as regards the outlying portions 
pirat and more distant motives of a drama, than prolonged 

' scenic representation can ever be. By its obliqueness a 
sense of perspective is produced, a grouping that is helpful to” 
unity of comprehension; the light is not dissipated, but accumu- 
lated and thrown in upon the focal point of the whole play — here 
upon the centralized action of the second epeisodion. 

Equally appropriate is the narrative form to the details of the 
Second nar. 5080 after the pretended ceremony of lustration. The 
ration, vs. Centre of gravity of the play lies inside the second and 
1827-1419. third epeisodia. Symmetry and balance call for indi- 
rectness and rapidity in the exodos, where the facts are related 
to Thoas by one of his men who had attended on the party and 
labored to frustrate the attempt at flight. Constructively, the sec- 
ond narration presented a difficulty which the poet was not obliged 
to meet in the first. The demeanor of the present messenger sug- 


8 
ΟΝ COLLEGE LIBRAR 
ESTNUT HILL, Mass 


ARTISTIC. STRUCTURE. dl 


gests the utmost haste in pursuing the fugitives (he must not yet rec- 
ollect that their escape has been miraculously interfered with) ; ney- 
ertheless he is allowed to stand there and bring his long story to an 
end. By the strictest theory, such an inconsistency would be repre- 
hensible. Practically, however, a certain amount of license ἜΣΣΩ 
in this direction was conceded and overlooked. It was the spectators 
Athenian spectator who ultimately determined the canons 2° ἐκ 
of dramatic art, and his sensibilities were not of the sort ότομη 
to evolve a law so rigid as to prove destructive of the art itself.” 
In a tragedy genuinely antique, in Aeschylus and Sophocles, we 
expect to find a chorus that bears its part in the dramatic eae, 
action from first to last, the burden of its songs lending the chorus 
weight and impulse to the movement of the play.” If ™ tgedy. 
organic unity be essential to a composite work of art, it might be 
fairly demanded that any tragedy, by whomsoever written, pro- 
vided it have a chorus at all, should have a chorus that can rea- 
sonably explain why it is there, and, being there, can offer word and 
deed compatibie with its continued presence on the scene. Of the 
soft and facile grace, the tender pathos of Euripides’ choral odes, 


24 It is curious to note how conscious the poets are apt to be of this theo- 
retical defect, often letting fall some word intended to allay any critical sensi- 
tiveness on the part of the spectator. Here we have Thoas’ remark ‘ they 
have too long a voyage before them ever to escape my spear,’ v. 1325, ef. 
vs. 43, 912 ff. One of the numerous examples is εἰ τῷ καὶ λογίζεσθαι σχολή 
Soph. Aj. 816, at the beginning of the hero’s long soliloquy when about to fall 
upon his sword. Euripides, who himself found occasion often enough to take 
advantage of this generous and reasonable indulgence, had the bad taste to 
slur Aeschylus for availing himself of the same privilege. The remark ὄνομα 
δ᾽ ἑκάστου διατριβὴν πολλὴν ἔχει | ἐχθρῶν ὑπ᾽ αὐτοῖς τείχεσιν καθημένων Phoen. 
751, is aimed against the second epeisodion of the Seven against Thebes, which 
is filled with the messenger’s descriptions of the hostile chiefs, on the eve of 
battle. But Aeschylus was not unconscious of the dramatic license, and is 
at pains to help it Septem 379, where the seer is said to have declared the 
omens unfavorable for an immediate attack. 

25 καὶ τὸν χορὺν δὲ ἕνα δεῖ ὑπολαβεῖν τῶν ὑποκριτῶν καὶ μόριον εἶναι τοῦ ὅλου, 
καὶ συναγωνίζεσθαι μὴ ὥσπερ Εὐριπίδῃ ἀλλ᾽ ὥσπερ Σοφοκλεῖ. Poet xviii. 

So again Horace: 

actoris partes chorus officiumque virile 
defendat, neu quid medius intercinat actus 
quod non proposito conducat et haereat apte. 
De arte poet. 193. 


32 INTRODUCTION. 


considered apart merely as lyrical compositions, this is not the place 
to speak. Nor can we stop now to give expression to any sympa- 
thy we may feel for a poet who toils reluctantly under the inherited 
irksome load of a chorus in tragedy. We fortunately have to deal 
at present with one of the poet’s better choruses, as regards organic 
ὌΝ Ἢ excellence. But the doings of no Euripidean chorus call 
in for extended comment. Its attenuated functions do not 
Euripides: invite the lingering inquiry that is inspired by this noble 
constituent of tragedy before the beginnings of decline. 

Slavery was not an institution that the thoughtful and humane 
Euripides could contemplate with indifference. It supplied him, 
however, with more than one chorus which might have proved 
Chorns of _—liflicult to levy without its aid. ‘The circumstances are 
captives: happily brought into play in the tragedy before us. The 
Greeks whom the Taurians offer up to their sanguinary deity are 
men; the women are spared for a life of servitude, and, as the 
goddess has her virgin priestess in the Grecian Iphigenia, so has 
the priestess her Grecian maidens serving at the temple. Their 
hearts can be only with their mistress, their thoughts like hers are 
away in the paternal land, in dreams they tread once more with 
merry feet the dancing-lawns of Hellas. ‘There is not a move- 
ment in the drama but appeals to their sympathies and awakens in 
their minds a genuine and vital interest. 

The motive for the first appearance of the chorus, the summons 
Pertinence from the priestess to attend her in pouring the libation 
of the sev- to Orestes’ shade, is ample and excellent, furnishing as 
eral choral . : 3 : A 

it does the occasion for entering in solemn procession, 


erform- 
anoee. and for impressive action as well as song in concert with 
Iphigenia. In short, the parodos, as far as it goes, has the merit 
The of pertinence and dramatic force. Of Euripides, we have 
parodos:s no right to ask that it should have gone farther, or that 


more should have been made of it. It has filled the time supposed 
to be occupied by the capture of the men, and, being commatic,” 
it has given to Iphigenia her first real dramatic opportunity. 


26 The parodos is termed ‘commatic’ when it consists wholly or in part of 
a commos, the performance being divided between chorus and actor, Such 


ARTISTIC STRUCTCRE. 99 


The first and second stasima are strictly apposite to the theme ; 
the first looking backward to the venturesome expedition yh, 
which has brought the two voyagers to grief, the second stasima. 
forward to the expected journey of deliverance. In both, the 
expressions of personal feeling are prompted by the events, and 
win from the spectator a portion of his sympathy. The third 
stasimon is remarkable. At the crisis with which it coincides, 
when the priestess and the victims have passed from the temple, 
bent on effecting their escape with the image, an ode relating to the 
action in progress would have been inconsistent with the secrecy 
promised by the chorus. On the other hand, the subject of the 
hymn springs directly from the circumstances of the play as a 
whole. The spectator, who has heard the oracle of Phoebus re- 
proached and discredited by the desponding, sceptical Orestes, 
listens with renewed reverence to the sacred story of its origin 
and renown. 

The brief commos between the chorus and the two friends, 
immediately after Iphigenia has withdrawn to fetch her Second 
letter, is very apt. It affords a needed pause and breath- commos, 
ing spell, and reflects perfectly the rare pathos of the “ἴ" 
situation. Finally, the chorus is helped to seem life-like and real, 
by a touch at the close of the second epeisodion, as Iphigenia 
implores their secrecy, promising them their own deliverance in 
return for the favor, and addressing her appeal successively to 
individual members of the band.” 


parodoi are always impressive and powerful, as may be seen in the fine exam- 
ples afforded by the Prometheus of Aeschylus, and the Electra and Philoctetes 
of Sophocles. In the parodos of the Tauric Iphigenia, as elsewhere in the 
tragedy, there are faint echoes of Sophocles’ Electra. 

27 Vs. 1068 ff. Patin objects to this, as inconsistent with the unity of a 
chorus in itself. Here the critic commits the common error of attributing to 
a dramatic personage a consciousness of artistic theory. How is Iphigenia to 
know that her servants will prove a unit in loyalty, without any exertion on 
her own part to secure it? Moreover, the best choruses betray the human in- 
dividualities of which they are composed, as in the Agamemnon the choreutae 
deliver their several opinions when the king has been struck, and the cory- 
phaeus declares the vote. The unity of a tragic chorus is not like that of the 
Siamese twins, but of an organized fraternity. The single voices in the paro- 
dos of the Seven against Thebes, and the colloquies of choreutae (generally 


\ 


94 INTRODUCTION. 


METRES AND TECHNIQUE. 


The learner who at one step passes to tragedy from Homer’s 
steady-flowing lines, is at first view bewildered by the 


Abruptness 

of the variety of new metrical forms with which he is con- 
sp di fronted. The verse of the dialogue will not be wholly 
epos to strange; he is familiar with its analogues in modern 
dramp, poetry ; but the lyric measures will seem meaningless, 


until he finds the key to unlock their secret. He has had no 
opportunity as yet of examining even the few remains that have 
been preserved of the intermediate poetic growth which led to 
the bloom of the Attic drama, through the grafting of epos upon 
a lyric stock. Nevertheless, if he has wandered well with Homer, 
and truly learned to know that never-forgotten voice, he will 
listen most intently for the new tones that tragedy has to utter ; 
nor will his highest imaginings of their beauty and grandeur be 
disappointed in the end. 

A perfect insight into the technical composition of the Greek 
Greek musical drama is impossible, because the data are not 
neem complete. The satire of Aristophanes, so far as it 
perform- relates to technique, is instructive enough, but conveys 
ance. only a general notion of the innovating tendencies which 
he deprecates. ‘The ancient metrical treatises of a later period 
are defective and obscure, though they have transmitted a ter- 
minology and the partial basis of a system of rules. Modern 
investigation has supplemented and perfected the knowledge of 
recited rhythms and of the several metres and forms of verse in 
which these are represented. But as regards the lyrical and choral 


attributed in the editions to hemichoria) in the Ajax, and near the beginning 
of the Alcestis and the Jon, are instances in point. 

It has also been urged that the chorus ought not to be present during the 
scene following the short commos (vs. 657-724), and yet fail to be enlightened 
by what passes between the two men. The criticism is not sound. Pylades’ 
name is spoken, as before, but not that of Orestes, nor that of Electra, who 
is alluded to as ‘sister.’ There is enough to lead the chorus to attend with 
heightened curiosity and interest, but there is nothing to help them distinctly 
to an avayvaepuois. 


METRES AND TECHNIQUE. 30 


portions of tragedy and comedy, the learned are not wholly at one 
in their views, and in this direction a thoroughgoing scientific 
knowledge is unattainable. The musical notes which ΠΩ 
were written to accompany the words have been entirely panying 
lost. We cannot reproduce the melodies nor the orches- music has 
tic movements, nor form a distinct idea of their charac- Poa 
ter. Nevertheless, the rhythmical structure of the lyric texts lies 
before us, in shapes analogous to those of the recited verse, impres- 
sive to the ear and the feelings, and to the analytic sense per- 
spicuous enough to indicate unmistakably the restraint of law in 
their creation. The phenomena of strophe and antistrophe alone 
suffice to prove the thorough inter-adaptation of orchestic, musical, 
and poetic form, and to attest the conscientious elabo- ΩΝ. 
ration that was demanded of the poet. ‘There was curbs to 
scope for all true and noble enthusiasm, but not for Poetic 

the wild saltation of unfettered genius. We can under- ear: 
stand perfectly why a proneness to replace antistrophic composi- 
tion by lyrical warbling ad libitum should have manifested itself 
at a period of artistic innovation and decline — why the monodies 
or arias, which the comic poet visits with unsparing ridicule, grow 
more numerous and more lengthy, side by side with increasing 
laxity in other technical matters. To us, the severe precision of 
rhythmical form compensates largely for the loss of the accom- 
panying music. ‘The choral odes of tragedy were meant, in the 
first instance, to be sung, but they can still be read, with an effect 
differing rather in degree than in kind from that with which they 
were originally chanted; and it is only by the aid of voice and 
ear that a right appreciation, or, indeed, any honest enjoyment 
of them, is possible.” 


28 ΤῸ master the rhythms (the art rather than the science) is the student’s 
first and most serious business on beginning tragedy, but the dialogue must 
be recited with skill and fluency before any of the choruses can be successfully 
tried. A systematic treatment of the whole subject, involving an application 
of the rhythmical principles of modern music to ancient verse, is Dr. J. H. 
Heinrich Schmidt’s Introduction to the Rhythmic and Metric of the Classical Lan- 
guages, translated by Professor Joun Witu1ams Wuitr. Schmidt’s method is 
followed to a considerable extent in Goodwin’s and Hadley and Allen’s Gram- 


90 INTRODUCTION. 


The Tauric Iphigenia was composed at a time when the regular 
pena verse of the tragic dialogue; the iambic trimeter, received 
trimeter. less care in the finishing than had been given to it in the 
earlier days of the drama. Severity of form in the tragic trimeter 
Relaxed depends largely on the avoidance of frequently recurring 
severity of trisyllabic feet. Tribrachs are familiar and intrusive, 
itsform. + and they must be worked off by the tragic poet through 
the same painstaking elaboration that enabled Demosthenes to 
dignify his prose-rhythm by clearing it of accumulated short sylla- 
bles. If the dialogue of tragedy was to be distinguished from 
that of comedy by stateliness of movement not less than by seri- 
ousness of contents, —for the comic trimeter verges closely upon 
voluble inartistic speech, — if Tragedy hoped to walk at the side of 
her easy-going relative with undiminished claim to deference, she 
was bound to pay strict attention to this matter. The deteriora- 
tion which actually set in begins to make its appearance not many 
After about Years after the beginning of the Peloponnesian War. 
420B.0. Minor variations are, of course, exhibited by the extant 
tragedies in regard to rigorous treatment of the verse, independ- 
ently of the date of their composition; a marked laxity, however, 
appears in those composed as late as the second half of the war, 
and, in the main, this degeneracy is found increasing toward the 
last, down to the death of Euripides. The ratio of trisyllabic feet 
in the trimeters of Aeschylus and Sophocles has been estimated 
as about one to every twenty-five verses. In the earlier plays of 
Euripides (Alcestis, Medea, Hippolytus), the verse approaches the 
same degree of finish, the Hippolytus, 428 B.c., being the latest 
of known date that shows this severity of form. But in our 
tragedy, and in others known to be late, the average is as high 
as one resolved foot to every five verses. The Philoctetes of 
Sophocles, 409 B.c., exhibits a free treatment of the verse, but 
nothing like the looseness found in the Euripidean work of the 


mars. The remarks on metre in this Introduction are not meant to take the 
place of anything that is in the grammars; accompanying study of all that 
can be learned from the Grammar is taken for granted. 

For a sketch of the prevailing tendencies in the musical arts at the time of 
Euripides, see Curtius’ History of G'reece, Book v., ec. ii. 


METRES AND TECHNIQUE. 37 


same period. Naturally, the rhythmical disturbances are not 
evenly distributed, but tend to accumulate in single verses and 
groups of verses.” 

The presence of the trochaic tetrameter is another distinguish- 
ing mark of the Jphigenia, as regards technique and time Trochaic 
of composition. This brisk and tripping measure is said bederood 
to have been the original verse of the dramatic dialogue, before 
tragedy and satyr-play became distinct species, when it naturally 


29 Numerous passages of similar rhythm to the following might be collected. 
The first has 6 resolutions to 6 verses, the second 8, the third 7. 

ἀλλ᾽ ἄγετε φέρετε ῥίπτετ᾽, εἰ ῥίπτειν δοκεῖ: 

715 δαίνυσθε τοῦδε σάρκας. ἔκ τε γὰρ θεῶν 
διολλύμεσθα παιδί 7 οὐ δυναίμεθ᾽ ἂν 
θάνατον ἀρῆξαι. κρύπτετ᾽ ἄθλιον δέμας 
καὶ ῥίπτετ᾽ εἰς ναῦς" ἐπὶ καλὸν γὰρ ἔρχομαι 
ὑμέναιον, ἀπολέσασα τοὐμαυτῆς τέκνον. 

Troades, 415 B.c. 


470 ποῦ ποῦ θυγατρὸς τῆς ἐμῆς ἴδω πόσιν, 
Μενέλαον; ἐπὶ γὰρ τῷ Κλυταιμνήστρας τάφῳ 
χοὰς χεόμενος ἔκλυον ὡς εἰς Ναυπλίαν 
ἥκοι σὺν ἀλόχῳ πολυετὴς σεσωσμένος. 
ἄγετέ με" πρὸς γὰρ δεξιὰν αὐτοῦ θέλω 

475 στὰς ἀσπάσασθαι, χρόνιος εἰσιδὼν φίλον. 


Orestes, 408 B.c. 


55 ἀλλ᾽ ὦ λιποῦσαι Τμῶλον, ἔρυμα Λυδίας, 
θίασος ἐμὸς γυναῖκες, ἃς ex βαρβάρων 
ἐκόμισα παρέδρους καὶ ξυνεμπόρους ἐμοί, 
αἴρεσθε τἀπιχώρι᾽ ἐν πόλει Φρυγῶν 
τύμπανα, ‘Peas τε μητρὸς ἐμά θ᾽ εὑρήματα, 
60 βασίλειά τ᾽ ἀμφὶ δώματ᾽ ἐλθοῦσαι τάδε 
κτυπεῖτε Πενθέως. 
Bacchantes, posthumous. 


_ The proper names of tragedy, mostly an inheritance from the dactylic epic 
poetry, present insuperable difficulties in the composition of the strict iambic 
trimeter. With so much the more care should resolved feet made up of other 
words be excluded from the same verse with a proper name, and from con- 
tiguous verses. Such passages as those quoted above are difficult to pronounce 
well, because they call for great fluency and precision of utterance, to pre- 
serve the rhythm. For the same reason the comic trimeter is almost as hard 
to recite as prose, but a good recitation shows it to be an instrument perfectly 
adapted to its purpose. | 


38 INTRODUCTION. 


came to be displaced by the graver iambic.” The persistence of 
the type is indicated by the Persians, the ratio of trochaics to 


30 τό Te μέτρον ἐκ τετραμέτρου ἰαμβεῖον ἐγένετο" τὸ μὲν γὰρ πρῶτον τετραμέτρῳ 
ἐχρῶντο διὰ τὸ σατυρικὴν καὶ ὀρχηστικωτέραν εἶναι τὴν ποίησιν, λέξεως δὲ γενομένης 
αὐτὴ ἡ φύσις τὸ οἰκεῖον μέτρον εὗρεν " μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν 
ἐστιν. σημεῖον δὲ τούτου, πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς 
ἀλλήλους, ἑξάμετρα δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς λεκτικῆς ἁρμονίας. Arist. 
Poet. iv. } 

ἐν δὲ τοῖς ἰαμβείοις, διὰ τὸ ὅτι μάλιστα λέξιν μιμεῖσθαι, κτλ. 1b. XXii. fin. 

The iambic is λεκτικόν (‘‘ adapted to speaking”), partly because it is ἃ ris- 
ing rhythm with anacrusis: 1.6. the ictus is preceded by a preparatory sylla- 
ble or syllables, which lends the gravity of discourse, and links the members 
with less abruptness. But the trochaic is a falling rhythm; it begins with the 
beat and has a singing effect. Furthermore, the iambic trimeter verse has the 
wider scope needed for rhetorical purposes, because it may be employed as a 
rhythmical unit (στίχος wovdxwdos), whereas the trochaic tetrameter is invaria- 
bly a period of two members (dixwAos), each member only a dimeter. This 
double structure is generally emphasized in modern poetry by a rhyme at the 
end of the first colon, before the diaeresis, thus : — 

‘Lives of great men all remind us 
We can make our lives sublime, 
And, departing, leave behind us 
Footprints on the sands of time.’ 
The rhythmical structure is precisely the same, however, when there are no 
such rhymes and the stanza is printed in two lines : — 
‘ Not in vain the distance beacons. || Forward, forward let us range : 
Let the great world spin forever || down the ringing grooves of change.’ 

The only difference is that the scope of the verse seems greater when its com- 
posite character is not emphasized by rhyming. ‘Therefore in comparing the 
iambic trimeter and the trochaic tetrameter as to length, two trimeters must be 
counted against one tetrameter, 7.6. twelve feet against eight. Since the tri- 
meter may or may not be musically divided, it has both the energy and the 
elasticity of discourse, affording large and weighty rhythmical (and rhetori- 
cal) masses, if needed, with the utmost variety in their distribution (‘pause 
melody’). The following passage from the /phigenia illustrates the flexibility 
of the verse: 

ὦ πότνι᾽, ἥπερ μ᾽ Αὐλίδος κατὰ πτυχὰς 

δεινῆς ἔσωσας ἐκ πατροκτόνου χερός, | 

σῶσόν με καὶ νῦν τούσδε τ᾽ - | ἢ τὸ Λοξίου 

108ῦ οὐκέτι βροτοῖσι διὰ σ᾽ ἐτήτυμον στόμα. | 

ἀλλ᾽ εὐμενὴς ἔκβηθι βαρβάρου χθονὸς 

εἰς τὰς ᾿Αθήνας - | καὶ γὰρ ἐνθάδ᾽ οὐ πρέπει 

ναίειν, | παρόν σοι πόλιν ἔχειν εὐδαίμονα. 

The revival of the trochaic tetrameter was a distinct gain to tragedy, pro- 
vided it could be used with moderation, without displacing too largely the 


METRES AND TECHNIQUE. 39 


iambics in that somewhat archaic tragedy being nearly one to 
three. For the space of half a century, however, it is very spar- 
ingly employed, until effectually revived by Euripides. Revived by 
The earliest of his plays of known date in which this Euripides. 
verse appears is the T’roades, 415 B.c. ; but since it is extensively 
used in the probably older Jon, its revival may be thought of as 
contemporaneous with the degeneration and heightened rapidity 
of the iambic trimeter.*" 


anapaestic system, or bringing with it a hobbling rapidity of the iambic tri- 
meter. There is no reason in the nature of things why its presence should 
have been accompanied by these losses and defects, although they seem to 
have been due in some degree to the same popular tendencies which brought 
the tetrameter into favor again. Nothing but a strong reactionary feeling 
could ever have forced this verse so far into the background as it appears to 
have gone for fifty years. It could not be dispossessed altogether, and the 
closing scene of the Agamemnon affords a capital illustration of its value, and 
of the poet’s sense that at certain junctures it was the one appropriate meas- 
ure. The other examples in tragedy outside of Euripides are at the close of 
the Oedipus Tyrannus (coryphaeus), and near the end of the Philoctetes. In 
the Oedipus at Colonus there is a single quatrain, pronounced by Theseus as 
he comes speedily to the rescue : — 


tis ποθ᾽ ἡ Bon; τί τοὔργον ; ἐκ τίνος φόβου ποτὲ 

βουθυτοῦντά μ᾽ ἀμφὶ βωμὸν ἔσχετ᾽ ἐναλίῳ θεῷ 

τοῦδ᾽ ἐπιστάτῃ CodAwvod; λέξαθ᾽, ὡς εἰδῶ τὸ πᾶν, 

800 οὗ χάριν δεῦρ᾽ nia θᾶσσον ἢ καθ᾽ ἡδονὴν ποδός. 

The passage illustrates an ancient notice that trochaic tetrameters were em- 
ployed to accompany entrances on the ‘double quick,’ ἵνα 6 λόγος συντρέχῃ τῷ 
δράματι (trochee, τρέχειν). It is noteworthy that in the Persians the iambic 
trimeter is employed chiefly for narration, while almost all of the colloquy is 
trochaic. 

81 While the Tauric Iphigenia is proved by its versification to belong to the 
late Euripidean peried, the year of its representation can only be conjectured. 
No notice touching the date has been preserved, no comment or parody occurs 
earlier than the passage of the Frogs already mentioned, and it is one of the 
merits of the play that in itself it contains no definite allusion to current 
events. The striking similarity of its plot to that of the Helen, 412 B.c., has 
furnished reason for supposing that the two tragedies stood not far apart in 
time of composition, thongh they clearly cannot have belonged to the same 
tetralogy. Bergk Griechische Literaturgeschichte iii. 552 argues that the Iphi- 
genia must have been later than the Electra, and assigns the Electra (which 
must have preceded the Helen) to the year 414, the Iphigenia to 413. Weil, 
however, Sept Tragédies d’Euripide (Notice sur lectre) assumes 415 as the 
year of the Electra, and the [phigenia cannot have been in the same tetralogy 


40 INTRODUCTION. 


The transition to trochaic rhythm in the third epeisodion occurs 
Ethos of δῦ ἃ moment when Thoas has been completely won over 
the trochaic by Iphigenia to the supposed religious exigency (Υ. 
= aca 1202). It marks an acceleration of the proceedings 
and a heightened excitement, as the king is bidden to perform his 
part in the ceremony, and the hazardous plot is now actually set 
in motion. The liveliness of movement is increased by 
the division of each line between the two interlocutors, 
‘ the division occurring for the most part at the regular diaeresis 
of the verse, although a monotonous uniformity is avoided, by a 
different severance in about one-third of the whole number of lines. 
Such partition—-here quite appropriate as a climax after the iam- 
bic stichomythia that precedes—seems even more natural to the 
tetrameter, owing to its double musical structure, than to the trime- 
ter, although Aeschylus has allowed it in neither. In Sophocles, 
ἀντιλαβαί of both measures occur, of trochaics Phil. 1402 ff. Here 
the divided dialogue is followed by twelve verses of Iphigenia, 
which fall into three quatrains in respect of the sense, accompany- 
ing the retreat from the temple and off the scene. At an earlier 
period a similar march would have been accompanied by anapaests, 
but the trochaic movement is better suited to the suspense and 
flutter of the present situation. 

The stichomythia, or dialogue in alternate single verses, gener- 
στιχομυ. ally understood of iambic passages, but equally appli- 
Gia. cable to trochaics, is employed by Euripides with the 


ἀντιλαβαί. 


with it. The discrepancy shows how unstable are the grounds of calculation. 
The argument that the carping at oracles in the play points to the time of 
the Sicilian Expedition, would amount to little or nothing, even if the passages 
meant were not thoroughly dramatic. Bergk thinks that such a work as our 
tragedy is, could not have been composed by Euripides, sensitive as the poet 
was to impressions from without, in the troubled times immediately after 
that great disaster. Wecklein, on the other hand, finds a pathetic allusion to 
the Sicilian catastrophe in the closing words τῆς σῳζομένης μοίρας εὐδαίμονες 
ὄντες, see on vs. 1490 f. We should really be glad to know whether the Jphi- 
genia came before or after the Helen. Did a happy inspiration and success- 
ful spontaneous effort lead to an inferior attempt on the same lines? Or 
was Euripides able, after giving himself free rein in the semi-comic Helen, to 
find in it a model for such restraint and single-mindedness as were needed to 
produce a Tauric Iphigenia ? 


METRES AND TECHNIQUE. 41 


utmost freedom in all respects. The poet’s fondness for dia- 
lectics and set debate, ‘ words wrestling down words,’” found 
one of its outlets in this form of dialogue. Sharpness of repartee 
and an exquisite subtlety are characteristic of the stichomythia in 
all three of the tragic masters. Euripides extended its ἘΣ ΟΣ tn 
compass as the vehicle of matter-of-fact conversations scope by 
intended chiefly to elicit information or to interchange Prides. 
counsel. The long stichomythia between Iphigenia and Orestes in 
the second epeisodion (vs. 492-569) is a conversation that ad- 
mirably serves its purpose in the gradual approach to the crisis of 
discovery. The βούλευσις, or council of war (vs. 1017-1051), 
takes the same form. In the colloquy with Thoas, which, as we 
have seen, finally passes into trochaic rhythm, the interlocutors 
are at cross-purposes, as often happens in the stichomythia. With 
the other examples that occur, the play affords a study of nearly 
the whole range of this species of dialogue. 

The anapaestic system is employed in the tragedy before us only 
toa very limitedextent. Although the lyrical anapaests, το 
presently to be described, may be regarded as partially anapaestic 
supplying its place, still we cannot fail to note that with ‘yse™ 
Euripides, as time advanced, the anapaestic system, pure and sim- 
ple, came to forfeit a portion of its earlier dignity and importance. 
The passages that occur in this play, brief as they are, serve to 
illustrate the original and most common function of the metre. 
Being a march-rhythm,” it regularly accompanies formal entrances 


82 ἀλλ᾽ οὖν λόγοι ye καταπαλαίουσιν λόγους Iph. Aul. 1013. 

The longest stichomythia in Aeschylus, Suppl. 291-323, consists of thirty- 
three lines, including two distichs at the beginning, and one at the end. In 
Pr. 36-81 there is a similar dialogue extended to the length of forty-five lines, 
but one interlocutor speaks in distichs. The longest example in Sophocles is 
probably Oed. Tyr. 1000-1050, fifty-one lines, including two distichs near the 
beginning and a quatrain at the end. In the Jon, 264-868, a stichomythia is 
prolonged to one hundred and five lines without a distich, and others of similar 
extent might be cited from our author. The attempt to find a thoroughgoing 
numerical symmetry (groups) in the long stichomythiae, has not proved suc- 
cessful, but a tendency to general symmetry and balance is often discernible, 
see the notes on vs. 69 f., 1027. 

88 In reciting anapaests there is danger of the same error that is often com- 
mitted in reading Homer — the error of not taking the time rightly. Since it 


42 INTRODUCTION. 


and exits, whether of chorus or of persons of the drama. At the 
beginning of the second epeisodion, the approach of the chained 
and guarded victims is announced in two anapaestic systems by 
the coryphaeus. Again, there are three systems by the coryphaeus 


is customary to read English poetry of all sorts in 3 time, the student finds 
himself at home, so far as the time is concerned, with Greek iambic, trochaic, 
and logaoedic verse. But he is apt to go wrong in reciting the anapaestic 
system, although its character is destroyed and its spirit lost if the true time (2) 
be not observed with precision. Mark the time with your feet, left foot to the 
ictus of the first, and right foot to the ictus of the second anapaest in the metre, 
until you find that such help can be dispensed with. Take care and give all 
the quantities their exact value. Never clip a long syllable because the ictus 
happens to fall on the succeeding short (_ ὦ  U). Finally, think of nothing 
but the sense. 

As the Iphigenia affords but slight material for practice in anapaests, the 
four systems that form the prelude to the temple-song of Ion are here printed. 
The youth, who dwells in the temple at Delphi as its servitor, marks the first 
beam of morning : — 

ἅρματα μὲν τάδε λαμπρὰ τεθρίππων 
ἥλιος ἤδη κάμπτει κατὰ γῆν, 
ἄστρα δὲ φεύγει πῦρ τόδ᾽ ἀπ᾽ αἰθέρος 

85 εἰς νύχθ᾽ ἱεράν, 

Παρνησιάδες δ᾽ ἄβατοι κορυφαὶ 
καταλαμπόμεναι τὴν ἡμερίαν 

ἁψῖδα βροτοῖσι δέχονται. 
σμύρνης δ᾽ ἀνύδρου καπνὸς εἰς ὀρόφους 

Ω0 Φοίβου πέτεται" 
θάσσει δὲ γυνὴ τρίποδα (ζάθεον 
Δελφίς, ἀείδουσ᾽ “Ἕλλησι Bods, 

ἃς ἂν ᾿Απόλλων κελαδήσῃ. 
GAN ὦ Φοίβου Δελφοὶ θέραπες, 

95 τὰς Κασταλίας“ ἀργυροειδεῖς 
βαίνετε δίνας, καθαραῖς δὲ δρόσοις 
ἀφυδρανάμενοι στείχετε ναούς " 
στόμα T εὐφημεῖν φρουρεῖτ᾽ ἀγαθὸν 
φήμας τ᾽ ἀγαθὰς 

100 τοῖς ἐθέλουσιν μαντεύεσθαι 
γλώσσης ἰδίας ἀποφαίνειν. 
ἡμεῖς δέ, πόνους ods ἐκ παιδὸς 
μοχθοῦμεν ἀεί, πτόρθοισι δάφνης 
στέφεσίν θ᾽ ἱεροῖς ἐσόδους Φοίβου 

105 καθαρὰς θήσομεν bypais τε πέδον 
ῥανίσιν νοτερόν, πτηνῶν τ᾽ ἀγέλας, 
at βλάπτουσιν σέμν᾽ ἀναθήματα, 
τόξοισιν ἐμοῖς φυγάδας θήσομεν" 


METRES AND TECHNIQUE. 43 


at the end of the piece, forming the exodos proper: the first is an 
apostrophe to the happy voyagers; the second is addressed to 
Athena; while the third, a concluding formula found at the end 
of two other tragedies, is a short prayer for victory in the dramatic 
contest on the part of poet and choregus. 

The iambic trimeter, the trochaic tetrameter, and the anapaestic 
system are the only metres that were employed in tragedy | 
for recitation or declamation by a single voice. The ie 
mode of delivering them was doubtless subject to varia- 
tion according to times and circumstances ; even iambic passages, 
we are told, were occasionally melodramatic with flute accompani- 
ment, while the trochaics and the anapaestics must have been still 
oftener performed as chant or recitative. Nevertheless, these 
three are to be classed together as distinct from the numerous 
and varied lyrical measures in which those passages are written 
that were set to music and sung by the chorus in the orchestra or 
by an actor (ἀπὸ σκηνῆς). The distinction between the )..¥. 
two classes is brought to view in the language itself, guished by 
not merely by the style of expression, but even by the ‘be dialect. 
dialectic form. In melic passages the old Attic dialect, adhered 
to with tolerable strictness in the other parts of tragedy, becomes 
modified by foreign elements, which are admitted not only con- 
ventionally, as the common inheritance of lyric song, but for the 
desired effects of poetic elevation and transfigurement. The promi- 
nent dialectic variation is the Doric (archaic) a replacing Attic ἡ 
in terminations and sometimes in stems. The dialect is at times 
strikingly helpful as a key to the vocal character of a passage. The 


ὡς yap ἀμήτωρ ἀπάτωρ τε γεγὼς 
110 στοὺς θρέψαντα- 
Φοίβου ναοὺς θεραπεύω. 


Mrs. Browning pays her respects to this noble verse in Wine of Cyprus :— 


‘Then, what golden hours were for us ! — 

While we sat together there, 

How the white vests of the chorus 
Seemed to wave up a live air ! 

How the cothurns trod majestic 
Down the deep iambic lines, 

And the rolling anapaestic 
Curled like incense over shrines! ’ 


44 INTRODUCTION. 


transition, for example, from the regular anapaestic system, which 
is always purely Attic, to lyrical anapaests will occasionally be 
sooner revealed by the language than by any departure from the 
metrical norm. In the exodos of the Persians Xerxes leads off the 
commos with a regular system of nine verses. ‘The coryphaeus re- 
sponds with another of four verses, which is immediately followed 
by one that we recognize as melos by the change of dialect : — 

ὀτοτοῖ, βασιλεῦ, στρατιᾶς ἀγαθῆς 

καὶ Ilepoovopov τιμῆς μεγάλης, 

920 κόσμου τ᾽ ἀνδρῶν, 
οὗς νῦν δαίμων ἐπέκειρεν. 

ya δ᾽ αἰάζει τὰν ἐγγαίαν 

"Pav ἘΞέρξᾳ κταμέναν “Αιδου 

σάκτορι Ilepoav κτλ. 

Lyrical or free anapaests are mostly used to express deep sorrow, 
er a as in dirges for the dead. They are sometimes com- 
anapaests. bined in systems which differ but slightly from the regu- 
lar system in respect of metrical form; and sometimes, on the 
other hand, they convey the very opposite effect of such a com- 
plex by a succession of catalectic verses. Besides the usual cata- 
lectic tetrapody or dimeter (paroemiac verse), catalectic dipodies 
and tripodies occasionally occur. ‘The character of the movement 
varies between the extremes of a purely spondaic flow (— ~) and 
accumulated proceleusmatics (VU Gv). The spondaic move- 
ment largely predominates, as the expression of resigned grief, _ 
while the other extreme, the proceleusmatic, indicates the rebel- 
lious agitation that will at times intrude itself. The proper caesura 
of the dimeter verse is sometimes wanting. All of these peculiari- 
ties find illustration in the parodos of the Iphigenia. The 
composition, as usual, is not antistrophic, and it will not 
be necessary to lay out a metrical scheme for the whole passage. 

Vs. 123-136 accompany the entrance of the chorus, and form 
ae ἘΠῚ the parodos proper. Ordinarily, the regular anapaestic 
the dirge, - SyStem would have been here employed, but an occasion 
vs. 123- — of religious solemnity — the approach to a temple — calls 
πῶ for spondaic rhythm. The first three lines, enjoining a 
holy silence, are acatalectic, the third without caesura. 


Parodos. 


wv 


METRES AND TECHNIQUE. 45 


> a_? s 
εὐφαμεῖτ, ὦ 
πόντου δισσὰς συγχωρούσας 
125 πέτρας Εὐξείνου ναίοντες. 


In singing, the first verse was perhaps made to occupy the same 
time as each of the others, thus: — 


The address to the goddess, immediately following, begins with two 
prosodiac (processional verses), catalectic tripodies : — 


Prosodiac 
A n~ ~ 
ω παῖ τᾶς Λατοῦς, and 
Δίκτυνν᾽ οὐρεία. paroemiac 


, » verses: 


These are followed by eight dimeters, of which all but two (vs. 
130, 133) are paroemiacs : * — 


Finally, when the chorus has come to a stand at the thymele of 
the orchestra, the priestess is addressed in a system (vs. 137-142) 
peculiar only in the spondaic character of three of the verses, 
including the paroemiac at the close. 

The remainder of the parodos is at once commos and dirge,— 
two monodies of Iphigenia, with response by the chorus Casitas 
to the first monody. The words ὕμνον ᾿Ασιήταν, βάρβαρον (Apivos), 
ἀχάν (v. 180) are an indication of the musical mode of vs. 143- 
the whole composition, Lydian or Phrygian with flutes i 
(σπονδειακοὶ αὐλοί). No verses occur that are essentially different 
from those mentioned above. V. 143 may have been prolonged in 
the same way as v. 123. Proceleusmatics appear in several lines. 


84 Precisely the same form, a succession of paroemiacs, is seen in an 
ἐμβατήριον or marching-song of Tyrtaeus that has been preserved. Hence 
the name παροιμιακός, “on the road” (olyuos). 

ἄγετ᾽, ὦ Σπάρτας εὐάνδρου 
κοῦροι πατέρων πολιατᾶν, 
λαιᾷ μὲν ἴτυν προβάλεσθε, 
δόρυ δ᾽ εὐτόλμως πάλλοντες 
μὴ φείδεσθαι Tas (was * 

οὐ γὰρ πάτριον τᾷ Σπάρτᾳ. 


46 INTRODUCTION. 


others the movement is not uniform: ν. 218, www 7 


--- ee cme 
v- 215, w4_ wwe τ Vv. 2381, _ _ Wwwww σου see 
the note. The pouring of the drink-offering is accompanied by a 
system (vs. 170-177) which, again, is nearly regular, but yet 
remains true to the character of the whole composition, the paroe- 
miac at the close being purely spondaic. 

The predominant rhythm for choral songs in the logaoedic. In 
Logacedic Sophocles and Euripides, the presumption is that any 
strophes. given ode will be found composed in logaoedic verses. 
If a different measure is employed, some special reason therefor 
will be discernible ; as, for example, in the parodos discussed above, 
free anapaests were chosen for the voice of mourning, and as 
later in the play dochmiacs will be called for. Logaoedic verse has 
Variety and NO special application or distinct ethical character. Its 
flexibility yariations of form and shades of mood are so manifold, 
of the : ‘ ae 
logacedic that, wherever any sort of lively movement is admissible, 
rhythm. the rhythm adapts itself to the thought with a subtle 
harmony which is instinctive to the poet, and recognizable, even 
when it cannot be formulated in set terms, by the hearer. We 
may form a conception of the infinite variety of which this rhythm 
is capable, by reflecting that the odes of Horace are nearly all of 
them logaoedic: the Horatian stanzas cover a good range of ethi- 
cal expression ; yet not one of them has either the compass or the 
flexibility of an ordinary strophe of tragedy, while at the same 
time no two strophes exactly alike are to be found in the whole - 
body of tragic literature. ~The three stasima of the Iphigenia are 
logaoedic, the first and second consisting each of two pairs of 
strophes, the third of one pair. The metrical schemes for them 


are as follows : ὃ — 


35 The metrical schemes are transcribed, with the necessary adaptation to 
the text of this edition, and some other changes (especially in the last scheme 
printed), from the third volume of Schmidt’s Aunstformen, Monodien und Wech- 
selgestinge cccxix.-cccxxxix. The sign 7] marks the end of a period; the sign || 
separates the cola. Two short syllables pronounced in the time of one (six- 
teenth notes) are designated by w. The other symbols are explained in the 
Grammars. The Roman numerals below the schemes designate the several 


METRES AND. TECHNIQUE. 41 


Vs. 392-406 = 407-420. 


1. su} Lv flowy ἐξὐὐ].-ὐὔ7] -οὖἹ First 
Seer Pao | ey | wv IA stasimon, 
metrical 
eee oy fyi} eu / wo] Al schemes, 
emer ww | > |e] eR | A 1 
eer oo I | YO le | A Strophe 1. 
ΕΞ ES (ey ee ee A || 
emeeteey te sy | Lc | _A ii 
eee | ows | ov | —v |v 
στ | i lL Ad 


faneve.o. 1/6; IL 6.4.4°56.[4. TL 44. 


Vs. 421-488 = 439-455. 


Me eee | yyy | A Il Strophe 2, 
eee as) tC. | Al 

Meera ht | διωώωυυίτωου [-.- Δ 
a ae ee ἰ τ]! anes So Eo --Ὰ 1 

ἘΠ λλ᾿᾿ὺἰἔἰΗΝςσδϑΛσῤσσ’σ | mw ..Δῇ 
Pets sy, | A il 


periods, while the Arabic numerals give the number of bars (feet) in each 
colon, and show the symmetry of the period, according to Dr. Schmidt’s con- 
stitution of it. The epodes, which are external to the symmetry, are marked 
off with a vertical line before the numeral; the mesodes will be easily recog- 
nized. Thus in the first period of the first scheme (6.5.6.|6.) there isa 
pentapody as mesode, and a hexapody as epode, while the first and third cola, 
_ hexapodies, balance each other. 

The schemes are not only of interest as exhibiting the theory of musical 
structure, but also practically useful as a guide in reading. They show the 
quantities, help to a right placing of the ictus when this might not be readily 
found by ear, and are especially needed to indicate the syncopated feet (\_). 
In lines whose rhythm is not readily caught, the student will sometimes find 
it worth while to place dots under certain syllables in the text to indicate syn- 
copation or ictus, as ἔπλευσαν ἐπὶ πόντια κύματα, and δρόμους καλλισταδίους ἄξει- 
νον κατὰ πόντον. 5... ‘aes : 

Accurate rhythmical recitation of choral odes, so far from being incon- 
sistent with due expressiveness, helps to reveal the effective harmony between 
sense and form. A fluent and distinct enunciation is needed, and careful 
practice, until the rhythm takes care of itself, or becomes only a sub-conscious- 
ness, while the mind of the reader dwells upon the thought, the imagery, and 
the feeling. 


48 INTRODUCTION. 
ΞΣΣ jae eae 
Sei. | oe. ha με ΛῸΝ, 
Pee SS Pe een 
LY paarece ΞΊ a ee ΊΛΗΙ 
SS Teer hk 
Pi StH wile AE 
Vs -. | | ae ORO τ || 
SSeS Oe ne 
WO to an 5: ἘΞ 


I. 4.4. ID. 6.6. Tl 4.3.3.4, |4. IV. 8.8.8. Vi 4. Se 


Strophe 2 has a somewhat more tripping movement than 1, the 
cola being shorter and more uniform in length. There is a rather 
fanciful and imaginative turn of the thought in the second pair, 
after the questioning and reflective spirit of the first. Observe 
the close similarity of the final periods. 


Vs. 1089-1105 = 1106-1122. 


Second To [ΞΟ eh ee 
stasimon, ee ee ten ete 8 ee 1 
metrical | | Ι 
schemes, ARE A REO ee on! ι- |_—A 
Su | w | we | _ AI 
Strophe 1. ON ODE fra OE πὰ By lee Ty, Ee 
Tet aw feu |) DO | ele eae eee 
vi WL pee leo Sel Laan 
Syu τ 7] lV oS LU | ΞΟ 
> Su Lite [ante ia aes ι. Π-- Ὁ 1]}-ἑ τὺ τ eee ‘ 
Sil > |=] 8 [LW 4 
wu | oo) 1 ΠῚ ee | ec An 


I. 4.4.4.4.|6. 11. 44.44.44.44.44. 44, 


Vs. 1128-1186 = 1137-1151. 


Strophe2. 1. “ΞΕ i clon WA | 
= > ao pee el eel 
St (gs Sa aro 
ΟΦ porn a it es try) 
> 2 ys, | ee ΠΥ 
LE? aie UPD Ι-. S2|[mulelwelwe| vu /_AT 


WY|_>lwulUl uw 71 εὐ din aa 


METRES AND TECHNIQUE. 49 


eee ian, |  o | tive] τ. | VU [{--.ΔΛ 
syulowvulwy low τ | ow | ew | LAI 
ΝΟ τ. | Al 


1. 4.4.4.4.[4. 11. 44.44. TI. 44.44. | 4. 


The responsion is imperfect in ἔνθα τᾶς ἐλαφοκτόνου, v. 1113. The 
sentiment is still present that found utterance at the close of the 
first stasimon, the captives’ regret and vain imaginings. The 
rhythm of the two odes is very similar. The movement here is 
quite uniform. Both the uniformity and the lack of anacrusis in 
the first period of strophe 1 add to the plaintive singing effect. 
There is some recovery from this steadfast plaint at the close of 
strophe 2, where the uninterrupted flow of cyclic dactyls is to be 
noted in the last verse but one. Observe the resemblance in sound 
between ἔλεγον and ἔπεσον, μολπαῖς and λόγχαις, which occupy corre- 
sponding positions in strophe and antistrophe 1. The recurrence 
of the same strain of music and the same dance-figure enforces 
such verbal correspondences, which occur frequently and cannot 
be regarded as accidental. 


Vs. 1234-1258 = 1259-12838. 


yt gf |_| _A Ii Third 
syulounu!| ve llwulwv|_AI stasimon, 
metrical 
ees baz { ΛΙ scheme, 
ss u lov low I ello | ow | eS | 
ὠϊ- ω  π ᾳ[. ΛΊΠ 
wear έ0ὺ1. ΔΊ 
ee | Ὃϑορ»οὁ l[—u ! = | Bale ee eR en Nt ay | 
eer ty, | _ A] 
ππππρΠστὺύσυὺῸ ῤ |) vy | > | -v |_All 
emery | > | | A 
Pent a dm | -  [- ΑἹ! 
Po poy YY (|—-yw| —_A |] 
ΝΥ πτπΠτο τος ες , ς» λα νὼ 1 -- -ὠὦ τ 1.- 1 --ὦ}.ὕ. ὧν} 
Pesan ey oft > πες κα ξ Jat Ad 
i. yvuvulwe! _A li 
ees fo > | ly | _A ll 
at Le SCS [τὸ Λ.] 
SS ΕΘ ΚΕΝ Ὁ] 


50 INTRODUCTION. 
ai muy lwulwesu!l_All 
SE LS, a ΕΑΝ Se ee 


IL 4/38 IL 3.44.8.8.44.3. IIL 5.5.5.|4. IV. 44.44. 
V. 8.4.3.8.4.] 6. 


In subject the third stasimon stands quite by itself. It is a 
chapter in sacred history, and the one long strophe has a certain 
tranquillity of rhythm, with a single pointed departure therefrom in 
the fourth period ; see the note on vs. 1274 f. fn. It is a passage 
well in keeping with the name λογαοιδικός, ‘* song (ἀοιδῇ) blended 
with discourse (Adyos).” 

Of dochmii, Καὶ. O. Miiller says, ‘they are admirably fitted, by 
Se elements, to depict the most violent excitement of the 
human mind, while the great variety of form which may be devel- 
oped from them lends itself equally to the expression of strong pas- 


sion and of deep melancholy. Tragedy has no form 
The charac- 7 


ἐξ β της more peculiarly her own, nor more characteristic of her 
tragic entire being and essence.’*® Such being the nature of 
measure, 


the dochmius, we are prepared to find it a favorite meas- 
ure with the ‘ most tragic of the poets.’* Since in Euripides the 
chorus has lost much of its earlier intensity of feeling as a dramatic 
participant, the dochmiacs fall largely to the share of the persons 
of the play, in monody or in lyrical dialogue. In the Iphigenia 
they are first met when sung by the chorus in the short commos of 
the second epeisodion, afterwards in the scene of recognition. 


Second Vs. 648-657. 
commos 
er Chorus. 
scheme, του 2 ee a ee 
OPA Ar SIG LC ee 645 


86 History of Greek Literature, c. xxii.,§ 18, By ‘the antipathy of their 
elements ’ the change of tempo (3, 8) that occurs inside the colon (WU ἢ. __ 
u | — ull) is meant, the hitching, “slantwise ” (δόχμιον) movement from 
which the metre gets its name. In the phraseology of mechanics the doch- 
mius might be said to work on an eccentric. 

87 καὶ ὁ Εὐριπίδης, εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός γε τῶν 
ποιητῶν φαίνεται Arist. Poet. xiii. 


their rapid movement and the apparent antipathy of their : 


METRES AND TECHNIQUE. 51 
Orestes. 
ἘΠ > ffl | | AI 
Chorus. 
π᾽...ι ἋΣ ἐπ τ τ as fh Ml 
Peeters) a Wav >| All 
| Pylades. 
eee | fe | lf LAT 650 
Chorus. 


eee | ih | LA] 
a a ΛΙ 


moms wy |i. | — A | 
SOS NE ae Oe | ee || 655 
ees ft mew 1{.-.Λ7] 


ποτ τὰ tr.dd.dd.tr. II. dd. III. 8.8. IV. dd.dd. 


d. stands for dochmius, tr. for iambic trimeter. νεανία in vy. 647 is 
pronounced with synizesis. The trimeters of Orestes and Pylades, 
as opposed to the dochmiacs of the chorus, indicate self-control ; 
but they were doubtless chanted, not recited, in these responses. 
The choral parts may well have been performed by hemichoria. 


Vs. 827-899. Scene of 
Sea. recognition 
Iphigenia, Chiaki bord 
eer ks fy | ew | | A σκηνῆ»), 
eee ey | yw | _ All metrical 
pues ys | A il scheme. 
ire. vy «| A i 830 
Orestes. 
eet oy | Uy | > | -ο᾿οὖ [Al 
Priya πω l|uuul|—All 
ee fae) o> | —uv |_Al 
Iphigenia. 
III. ΕΝ Α,τἰ τ᾽] τ ὦ }. υἹ ω- 1 .οὐἹ 
Cre tw De heb 835 
eer xe) uy fe | el | LAT 
ES ey | ee ee aN | 


Peery | A 840 


¥) inte δ ἢ ἧς hye: > ᾿ 
ΕΣ 7 5 ee ἊΨ, < re ve a 
ak Me οντν,.. 
52 | INTRODUCTION. μεν; 


: Orestes. 
Vit sy Way ee ee ἘΞ 


4 Iphigenia. 
TINS ὦ ee eee 
eh a rh ee as ee ee 
ΝΥ ΠΛῊΝ 
ἊΣ πον pee us Tee: [ee ee 845 
re ey Pee an : 
τ] ee. FRG aA Hl 
os ae ae al 
Si ass ae Ki oe Wee a 
Orestes. 
Nik eye eee πα ee | eee 850 
St a Se ens ΚΣ Ὁ 2: {1 π 
Iphigenia. 
ys A A ee es ea 
cae 1, ave) Pe IN A ee 
Orestes. τ: : 
Δ 1111... eee ἢν τυ πες σαι τ} 855 
Iphigenia. 
UR ce, eee We ἘΠ 8 meer we alee | 
> τον ἀρ τ ee 
NAP AY Pick Aen Nt δέν 
ἘΣ ΣΝ δ τὴν yk SEV me de 
Orestes. 


VT ls | ἘΞ et | eee 


Iphigenia. 
vuvu luv luv luwuvl_u| Sea aa 
Orestes. 
» a ee ec 
Iphigenia. 
od a de ee 
Tg Ss oe ee 
SS 5 a eee 
AP ow a | a ee τ} 
Cote eer er ἢν το YS! f 
Be 


ΠΣ 
Ω͂Ω͂ 


METRES AND TECHNIQUE. 53 


X. | a ee eee on 

meer --:.-|,ς- a | ll 
ry | ow I EA dS 875 
SEG Re | NW mea a || 

oe > | A ll 
P—yu lw |_AIl 880 
eee Poe ilo | All 
ἘΠ | ἡ Ὁ] 


ποτέ [Ξἡω | 0]! 
eee > | — A ll 885 


Py | ows | ow | ὦ 


ΧΙ. 


Εν 6.6 δ Ὁ ν Ἢ 


Su |u| ra Ι- [πῶς [-ὦἱ! 


ΝΕ πιο | lV IL] TA] 590 


ele foo t- | A il 


Bay [ow | --ῶτΤυ IAI 895 
eee A ll 

PuuvUl|wy | —A I 
στ οὐ] oe a A || 


my | A I 


το οὐ oe ayo 


I. tr.4.d.d.(A trimeter is balanced by two dochmii, 4. is mesode). II. tr. 
tr. tr. III. dddd.tr.dd.|d. IV. tr.dd.tr.{|d. V. 5.d.|dd.3.dd. (δ. ἃ. 
is prodde). VI. tr. tr. dd. dd. VII. tr. | dd. dd. dd.|3 bacchics. WIII. 
tr. 44.tr.|4. IX. dd. dd.dd.|d. X. 4.4|[8.dd.d.3.dd.d. XI. 4.d.4. 
33.ddd. XII. 3.4.|3.3.dd.| d. 


The passage illustrates the facility with which melic trimeters 
may be combined with dochmiacs. The part of Orestes is entirely 
in trimeters ; see the note on v. 832. Similarly in the recognition 
scene of Sophocles’ Electra (1232-1287) Orestes maintains the 
restraint of trimeters against dochmiacs of his sister. The Sopho- 
clean composition, however, is antistrophic. 


= 
ὅταν ῖ 
Zi 
2 
Be 
Oo 
ie. me Ε 
τῇ ‘ on 7, 
a | ἂν ΤΌΤΕΣ τ | 
ia : Ἢ a y 2 . rt ra \ aa 


“ Ἢ 
hard ie 


TA TOT APAMATOY IIPOSOQHA. 


ἸΦΙΓΈΝΕΙΑ. 
ΟΡΕΣΤΗΣ. 
ΠΥΛΑΔΗΣ. 

A@HNA. 
ΧΟΡΟΣ EAAHNIAQN 


ATTEAOS. | 


es 


P τ TH ΜΝ 
᾿ } rf "ἢ ¥ Ὗ... ᾿Ὁ 
BOYKOAOS. 


ΘΟΑΣ. 


pow oe 


TYNAIKON. 


ΩΣ 4 , 394 


ΒΥΡΙΠΙΔΟΥ I®ITENELA 


H EN TAYPOIS 


IPITENEIA. 


Πέλοψ ὁ Ταντάλειος εἰς Πῖσαν μολὼν 


“A ν > / ~ / 
θοαῖσιν ἵπποις Οἰνομάου γαμεῖ κόρην, 


ἐξ ἧς ᾿Ατρεὺς ἔβλαστεν: ᾿Ατρέως δ᾽ azo 


Μενέλαος ᾿Αγαμέμνων Te 


τοῦ δ᾽ ἔφυν ἐγώ, 


5 τῆς Τυνδαρείας θυγατρὸς ᾿Ιφιγένεια παῖς, 


nv ἀμφὶ δίναις, ἃς θάμ᾽ 


I. ῬΕΟΙΟΟΟΒ, vs. 1-122. 

The scene represents the temple of 
Artemis of the Taurians. Iphigenia 
enters from the temple in the garb of 
priestess, unattended. 

1 f. Oenomaus, a son of Ares, and 
king of Pisa in Elis, had been warned 
by an oracle that the spouse of his 
daughter Hippodamia should slay 
him. He accordingly challenged 
every suitor for her hand to a chariot- 
race, the prize of victory to be the 
maid, but death the condition of de- 
feat. Pelops won by bribing Myr- 
tilus, the charioteer of Oenomaus, 
who secretly removed the linch-pin 
of his master’s chariot. The car 
broke down, Pelops slew Oenomaus 
with his lance, and carried off Hippo- 
damia. As they drove home, Pelops 
hurled Myrtilus over the cliffs into the 
sea, to avoid redeeming his pledges. 
This crime is mentioned Or. 990, 1548, 
Soph. Z/. 509, but not in the present 


play. See vs. 824 ἢ, --- ἶ θοαῖσιν : the 


» A 
Kuputros TUKVQLS 


Greeks said ὁ ἵππος but generally af 
ἵπποι, cf. v. 192. — ἵπποις : const. with 
μολών. The first pause in reciting 
comes after ἵπποις, cf. the quotation 
and travesty by Aristophanes, Introd. 
p. 3, ἐδ. p. 25, footnote. The steeds 
were naturally a prominent feature 
in the legend, the gift of Poseidon 
according to Pindar, cf. ἔδωκεν δίφρον 
τε χρύσεον πτέροισίν τ᾽ ἀκάμαντα ἵππους 
Ol. i. 140. 

5. τῆς Tuvdapelas θυγατρός : cf. vs. 
806 f. and see the family tree, Introd. 
p. 8. For the adj. instead of a gen. 
of the proper name, cf. vs. 1, 170, 1115, 
1290, ὦ Tuvdapela παῖ Κλυταιμνήστρα 
Iph. Aul. 1582. 

6 f. Whom hard by the eddying waters 
that EHuripus with incessant gusts sets 
whirling as he rolls the blue sea back, 
etc. Cf. Livy’s description of the 
spot: haud facile alia infes- 
tior classi statio est. nam 
et venti ab utriusque terrae 
praealtis montibus (cf ἐν πτυ- 


08 EYPIWIAOY I®ITENEIA. 


» Ne , 9 ΄ 
αὔραις ἑλίσσων κυανέαν ἅλα στρέφει, 
ἔσφαξεν Ἑλένης εἵνεχ᾽, ὡς δοκεῖ, πατὴρ 
᾿Αρτέμιδι κλειναῖς ἐν πτυχαῖσιν Αὐλίδος. 


10 ἐνταῦθα γὰρ δὴ χιλίων ναῶν στόλον 
ε A , ~ Tt 4 + 
Ἑλληνικὸν συνήγαγ ἈΑγαμέμνων ava, ᾿ 
τὸν καλλίνικον στέφανον ᾿Ιλίου θέλων 
λαβεῖν ᾿Αχαιούς, τούς θ᾽ ὑβρισθέντας γάμους 
Ἑλένης μετελθεῖν Μενέλεῳ χάριν φέρων. 

15 δεινῆς δ᾽ ἀπλοίας, πνευμάτων οὐ τυγχάνων, 


εἰς ἔμπυρ᾽ ἦλθε, καὶ λέγει Κάλχας τάδε: 


ὦ τῆσδ᾽ ἀνάσσων Ἑλλάδος στρατηγίας, 


᾿Αγάμεμνον, οὐ μὴ ναῦς ἀφορμίσῃ χθονός, 


χαῖσιν v. 9, κατὰ πτυχάς ν. 1082) 
subiti ac procellosi se deici- 
unt, et fretum ipsum Euripi 
non septiens die, sicut fama 
fert, temporibus statis reci- 
procat, sed temere in modum 
venti nunc hue nune illue 
verso mari velut monte prae- 
cipiti devolutus torrens rapi- 
tur. ita nec nocte nec die 
quies navibus datur. xxviii. 6. 

8 f. Ἑλένης εἵνεκα: said bitterly, 
indicating Helen as the cause of the 
war and all the troubles that grew 
out of it, cf. vs. 356, 439 ff., 521-526. 
— ὡς δοκεῖ: as he supposed, cf. v. 785; 
most naturally interpreted as _ hist. 
pres. The seeming separation of 
δοκεῖ from πατήρ (by punctuation) is 
modern, not antique; there is no 
pause in reciting. — κλειναῖς : see on 
iepds v. 1452. 

10. ἐνταῦθα yap δή : for there it was, 
εἰς. ---χιλίων ναῶν: thus constantly 
in round numbers of the armament 
against Troy, cf. v. 141. 

12. τὸν... Ἰλίου: the illustrious 
crown of conquered Troy. Poetic phrase, 


the relation of Ἰλίου being objec- 
tive. 

14. μετελθεῖν : vindicate, reverts to 
θέλων v. 12 for its subject.— χάριν 
φέρων : to gratify, answers to the Ho- 
meric ἦρα φέρων. For the pres. par- 
ticiple,.see on αὔξοντες v. 412. 

15. ἀπλοίας : may be const. as tem- 


poral gen., although the text is un-~ 


certain. The “dire delay” is here 
apparently occasioned by lack of 
wind, so Soph. 1]. 564. In Aeschylus 
Ag. 192 the trouble is aggravated by 
contrary winds. Euripides merely 
Says ἥμεσθ' ἀπλοίᾳ χρώμενοι κατ᾽ Αὐλίδα 
Iph. Aul. 88. 

16 ff. In order to learn the will of 
heaven in the matter, Agamemnon 
resorts to burnt offerings (ἔμπυρα, 
ignispicium), and these are inter- 
preted to him by the seer Calchas 
vs. 17-24 (ὦ τῆσδε... θῦσαι). The 


parenthesis v. 23 is interjected by — 


Iphigenia. 
18 f. od μὴ... ἀφορμίσῃ κτλ. : thou 


wilt surely never get thy ships off from 


the shore, until, etc. For the const., 
see 6. 257, H. 1032. 


δῷ, 
~ 
= 

ad 


IPHIGENIA AMONG THE TAURIANS. 59 


πρὶν ἂν κόρην σὴν Ἰφιγένειαν “Ἄρτεμις 


20 λάβῃ σφαγεῖσαν.' 


0 Tl yap ἐνιαυτὸς τέκοι 


κάλλιστον, εὔξω φωσφόῤῳ θύσειν θεᾷ. 


παῖδ᾽ οὖν ἐν οἴκοις σὴ Κλυταιμνήστρα δάμαρ 


τίκτει (τὸ καλλιστεῖον εἰς ee ἀναφέρων), 


ἣν χρή σε θῦσαι. 


καί ΓᾺ ᾽Οδυσσέως τέχναι 


265 μητρὸς παρείλοντ᾽ ἐπὶ γάμοις ik ata 


ἐλθοῦσα δ᾽ Αὐλίδ᾽ ἡ τάλαιν᾽ ὑπὲρ πυρᾶς 


μεταρσία ληφθεῖσ᾽ ἐκαινόμην ξίφει" 


ἀλλ᾽ ἐξέκλεψεν ἔλαφον ἀντιδοῦσά μου 


ἽΑρτεμις ᾿Αχαιοῖς, διὰ δὲ λαμπρὸν αἰθέρα 


80 πέμψασά p εἰς τήνδ᾽ ᾧκισεν Ταύρων χθόνα, 
οὗ γῆς ἀνάσσει βαρβάροισι βάρβαρος 


ΕΝ A 
Θόας, ὃς ὠκὺν πόδα τιθεὶς ἴσον πτεροῖς 


201. Cf Agamemnon cum de- 
vovisset Dianae quod in suo 
regno pulcherrimum natum 
esset illo anno, immolavit 
Iphigeniam, qua nihil erat eo 
quidem anno pulchrius Cic. 
De offic. iii. 28. --- κάλλιστον : for the 
position, see on v. 979, and cf. the 
arrangement in the Ciceronian pas- 
sage. — dwodopw: Luciferae, so 
called as goddess of the moon. Arte- 
mis and Hecate were identified, al- 
though originally distinct divinities. 

22. παῖδα: emphatically placed. 
Agamemnon had used τεκεῖν figura- 
tively in his vow, of the fruitful year, 
but in the fulfilment the word is 
pressed upon him literally. 

23. The words in parenth. are 
adapted grammatically to λέγει Kda- 
xas v. 16. --- τὸ καλλιστεῖον : said 
___ ΜΠ irony, referring to κάλλιστον V. 
ΟἿ 21. The meed of beauty was death. 
She was born with ‘the fatal gift.’ 

_ 24f. The pretended marriage was 


a device of Odysseus in order to in- 
veigle Iphigenia from her home. 

27. Note the halting rhythm of 
this line. — μεταρσία ληφθεῖσα : a 
graphic expression, answering to Aa- 
βεῖν ἀέρδην in Aeschylus’ description, 
sublata virum manibus in Lu- 
cretius. See the passages quoted 
Introd. pp. 10 f. —ékatvopnv: a true 
imperfect, so vs. 60, 360, 920. 

31. γῆς ἀνάσσει : ἀνάσσει is followed 
first by a gen. as v. 16, and then by 
a dat. (βαρβάροισι BdpBapos), slightly 
modifying the relation. 

32 f. The etymologizing with the 
proper name (as if Θόας were from 
Gods) is wholly gratuitous, since Thoas 
displays no fleetness in the tragedy. 
The same idea is travestied by Aristo- 
phanes: Θόας, βραδύτατος dy ἐν ἀνθρώ- 
mois δραμεῖν Frag. 9524. --- πόδα... 
πτεροῖς : plying a foot as good as wings. 
ἴσον is not pred., but πόδα τιθέναι is 
equiv. to βαίνειν. Cf. διὰ μέσου yap 
αἰθέρος | τέμνων κέλευθον πόδα τίθημ᾽ 


60 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


9 » ᾽ν ΄, ὃ A 
εἰς τοὔνομ᾽ ἦλθε τόδε ποδωκείας χάριν. 
A > 5 “A 3 ε 4 ’Ψ ’΄, 
ναοῖσι δ᾽ ἐν τοῖσδ᾽ ἱερίαν τίθησί με: 
ν / “Ἢ ν ‘4 
35 ὅθεν νόμοισι, τοῖσιν ἤδεται θεά, 
΄ 9. © α΄ x 2 4 Ν ΄ 
χρώμεσθ᾽ ἑορτῇ», τούνομ᾽ ns καλὸν μόνον, 
τὰ δ᾽ ἄλλα --- σιγῶ τὴν θεὸν φοβουμένη. 
θύω γάρ, ὄντος τοῦ νόμου καὶ πρὶν πόλει, 
ὃς ἂν κατέλθῃ τήνδε γῆν Ἕλλην ἀνήρ᾽ 
, , ,’ 5 ν» 4 
40 κατάρχομαι μέν, σφάγια δ᾽ ἄλλοισιν μέλει 
+ ϑ»ν»ν “ 3 3 4 A 
ἄρρητ᾽ ἔσωθεν τῶνδ᾽ ἀνακτόρων θεᾶς. 
ἃ οἷ > ν Ν rd , 
ἃ καινὰ δ᾽ ἥκει νὺξ φέρουσα φάσματα 
λέξω πρὸς αἰθέρ᾽, εἴ τι δὴ τόδ᾽ ἔστ᾽ ἄκος. 
ἔδοξ᾽ ἐν ὕπνῳ τῆσδ᾽ ἀπαλλαχθεῖσα γῆς 


ὑπόπτερον | Περσεύς Ar. Thesm. 1100 
(from Euripides’ Andromeda). 

34. τίθησι : sc. ”"Apreuis. 

35 f. ὅθεν νόμοισι xpwperOa: whence 
it comes that I practise rites. —rotow: 
rel., H. 275 D. νόμοισιν οἷσιν would 
have been cacophonous. 

37. τὰ δ᾽ ἄλλα: (i.e. τὰ δ᾽ ἔργα) ai- 
σχρά ἐστι She would have said. Such 


a name as Ταυροπόλια, e.g. would con- ᾿ς 


vey no suggestion of human sacri- 
fice. “The name is fair, but all the 
rest is base.” 

38. ὄντος KTA.: 1.6. the custom was 
established among the Taurians be- 
fore Iphigenia was made priestess. 

39. Cf. θύουσι μὲν τῇ παρθένῳ τούς τε 
ναυαγοὺς καὶ τοὺς ἂν λάβωσι Ἑλλήνων 
ἐπαναχθέντας Hdt. iv. 108. For the 
arrangement here, see on v. 979, and 
cf. the note on v. 72. 

40. Explanatory asyndeton. The 
generic word θύω is here resolved 
into its specific parts. In what 
the initiatory rite (κατάρχομαι) con- 
sisted may be seen from vs. 54, 442, 
622. 

42. κει φέρουσα: has brought with 


: 
aa 
ἥ 
ἱ 
] 


it. ἥκειν often approaches the force 
of a mere auxiliary verb, ef. ἥκω σαφῆ 
τἀκεῖθεν x στρατοῦ φέρων Aesch. Sept. 
40. See also on v. 258. The similar 
idiom with οἴχεσθαι is rather more 
familiar. 

43. It was customary to declare a 
bad dream to the sun-god, with a view 
to averting its consequences. So also 
to confide troubles of any kind to the 
elements, and Euripides is thus often 
helped to a motive for a soliloquy, ef. 
ἐγὼ γὰρ eis τοῦτ᾽ ἐκβέβηκ᾽ ἀλγηδόνος, | 
ὥσθ᾽ tuepds μ᾽ ὑπῆλθε γῇ τε κοὐρανῷ | 
λέξαι μολούσῃ δεῦρο δεσποίνης τύχας 
Med. 56. We see from vs. 42 f. that 
the assumed time is morning, as usu- © 
ally at the opening of a Greek play, — 
cf. v. 161. 

ἔδοξ᾽ ἐν ὕπνῳ: “methought.” 

Obs. that the dependent infinitives 
are all contemporaneous with the ἴω 
leading verb, and differ only as ΓΝ 
impf. and aor. indic. would di 
(ῴκουν, ἐσείσθη, ἔφευγον, εἰσεῖ 
Further, that ἔδοξα does duty als 
an ἔδοξεν (impers.) with σεισθῆναι 
46. Cf. vs. 50 ff, 279 f, 


κατάκρας. 


rare in tragedy. — κόμας: 
᾿ καθεῖναι. 
clined to say “hair flowed down.” It 
ie is. dreamlike to make the magia 0 of a 


Mae 


IPHIGENIA AMONG THE TAURIANS. 4 


46 οἰκεῖν ἐν “Apyel, παρθένοισι δ᾽ ἐν μέσαις 
“εὕδειν, χθονὸς δὲ νῶτα σεισθῆναι σάλῳ, 


φεύγειν δὲ eee στᾶσα θριγκὸν εἰσιδεῖν 


δόμων πίτνοντα, πᾶν δ᾽ ἐρείψιμον στέγος 
’, \ Ἂν 5 ¥ A 
βεβλημένον πρὸς οὖδας ἐξ ἄκρων σταθμῶν. 
50 μόνος δ᾽ ἐλείφθη στῦλος, ὡς ἔδοξέ μοι, 
δόμων πατρῴων, ἐκ δ᾽ ἐπικράνων κόμας 


ξανθὰς, Ἰξαθεβιαι; φθέγμα δ᾽ ἀνθρώπου λαβεῖν, 


κἀγὼ τέχνην τήνδ᾽ ἣν exo ἕενοκτόνον 


νν 
τιμῶσ᾽ ὑδραΐνειν αὐτὸν ὡς θανούμενον, 


55 κλαίουσα. 


τοὔναρ δ᾽ ὧδε συμβάλλω τόδε: 


, , ee , “' δ 5 , 
τέθνηκ᾽ ᾿Ορέστης, οὗ κατηρξάμην ἐγώ. 
στῦλοι γὰρ οἴκων παῖδές εἰσιν ἄρσενες 
θνήσκουσι δ᾽ ods ἂν χέρνιβες βάλωσ᾽ ἐμαί. 

lal > 39 nw , = : \ 

61 νῦν οὖν ἀδελφῷ βούλομαι δοῦναι χοὰς 


» 5 3 , nw Ν. ’ὔ 3 » 
παροῦσ᾽ ἀπόντι, ταῦτα γὰρ δυναίμεθ᾽ ἂν 
ΥΆ μ ’ 


45 f. παρθένοισι... εὕδειν: so in 
Homer ¢ 18 f., when Athena comes 
in a dream to the sleeping Nausicaa, 
the princess’ maids are with her. — 
σάλῳ : properly of the tossing of 
waves, cf. v. 262. 

47. κἄξω : καὶ ἔξω. 

48 f. And the whole building cast in 
ruins to the ground from its topmost 
beams. —€§ ἄκρων σταθμῶν : equiv. to 


50. μόνος... στῦλος : but there was 
a pillar left standing alone. 

51 f. ἐπικράνων : a syllable long 
by position before a smooth or rough 
mute and a liquid beginning the sec- 
ond part of a compound word, is very 
obj. of 
We should be rather in- 


52-54. The infinitives depend on 
ἔδοξεν, ἔδοξα, implied in the parenthe- 
tic ὡς ἔδοξέ μοι v. 60. --- τιμῶσα: in 
due observance of. 

55 ff. The dream was intended as 
a warning to Iphigenia of the coming 
event. She makes the mistake of in- 
terpreting it with reference to the 
past instead of the future. Her mis- 
take complicates matters in the play, 
see Introd. p. 18. 

56. οὗ κατηρξάμην ἐγώ: 
whom I consecrated. 

62. παροῦσ᾽ ἀπόντι: see on v. 621. 
Cf. τοιγὰρ θέλουσ᾽ ἄκοντι κοινώνει 
κακῶν, | ψυχή, θανόντι ζῶσα συγ- 
γόνῳ φρενί Aesch. Sept. 1033. — 
ταῦτα: emphatic. “Thus much at 
least I can do, although his remains 
are not here to receive the customary 
funeral services from my hand.” See 
vs. 627 ff. 


he it was 


62 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


σὺν προσπόλοισιν, ἃς ἔδωχ᾽ ἡμῖν ἀναξ 
Ἑλληνίδας γυναῖκας. ἀλλ᾽ ἐξ αἰτίας 

66 οὔπω τινὸς πάρεισιν, εἶμ᾽ εἴσω δόμων 
ἐν οἷσι ναίω τῶνδ᾽ ἀνακτόρων θεᾶς. 


OPEXTHS. | 
ὅρα, φυλάσσου μή τις ἐν στίβῳ βροτῶν. 


ΠΥΛΑΔΗΣ. 


ὁρῶ, σκοποῦμαι δ᾽ ὄμμα πανταχοῦ στρέφων. 


OPESTH3. 
Πυλάδη, δοκεῖ σοι μέλαθρα ταῦτ᾽ εἶναι θεᾶς, 
70 ἔνθ᾽ ᾿Αργόθεν ναῦν ποντίαν ἐστείλαμεν ; 
ΠΥΛΑΔΗΣ. 
» πος ΄, Ν \ ὃ A , 
ἔμοιγ᾽, Ὀρέστα: σοὶ δὲ συνδοκεῖν χρεών. 
ΟΡΕΣΤῊΣ. 
καὶ βωμός, Ἕλλην οὗ καταστάζει φόνος ; 


64. ἀλλά: instead of the usual ἀλλὰ 
a+ yap, cf. v. 118. 

65 f. ἀνακτόρων: possessive gen. 
with δόμων, “my apartments in the 
goddess’ temple here.” διατί. 

For the first sixty-six lines of the 
prologos considered in relation to the 
artistic structure of the play, see 
Introd. pp. 24-26. 


Orestes and Pylades enter furtively. 
The questions of the former, who at 
first remains cautiously behind, are 
adapted to descriptions that he has 
heard of the place; but his compan- 
ion, advancing farther, is enabled 
to confirm the marks by what he 
sees, } 


MM 


67. μή tis: sc. ἐστίν. 
69 f. The distich is balanced by v. 
75 f. The symmetry of a stichomy- 
thia is often disturbed by two verses, 
sometimes by more than two. The 
occurrence of such an interruption 
marks a change in the subject of 
discourse, or a pause in the action. — 
See Introd. p. 4. . 
71. σοὶ δὲ κτλ.: ἐμοὶ συνδοκεῖ ταῦτα ΠΑΝ 
is what Orestes would say.—xpedv: 
86. ἐστιν. Equiv. to χρή, see on v.9038. 
72. "EAAnv φόνος : blood of slaugh- 2 
tered Greek. Note the emphatic posi- 
tion of the adj. before the relati 
also the comprehensive effect of Ἕλλην 
first and φόνος last. Cf. vs. 42, 53, and 
so often. ᾿ δ 


a Ἀν ΦΥ͂, 


of. ν. 941. 


IPHIGENIA AMONG THE 


TAURIANS. 63 


ΠΥΛΑΔΗΣ. 


ἐξ αἱμάτων γοῦν ἕάνθ᾽ ἔχει θριγκώματα. 


ΟΡΕΣΤΗΣ. 


θριγκοῖς δ᾽ ὑπ᾽ αὐτοῖς ORDK' opas ἠρτημένα; 


ΠΥΛΑΔΗΣ. 


75 τῶν κατθανόντων γ᾽ ἀκροθίνια ξένων. 


ἀλλ᾽ ἐγκυκλοῦντ᾽ ὀφθαλμὸν εὖ σκοπεῖν χρεών. 


ΟΡΕΣΤῊΣ. 


ὦ ΕΣ ge ποῖ μ᾽ αὖ τήνδ᾽ ἐς ἄρκυν ἤγαγες 
wth kee χρήσας, ἐπειδὴ πατρὸς͵ αἷμ᾽ ἐτισάμὴν 


ΘΑ͂ κατακτάς; διαδοχαῖς δ᾽ Ἐρψύων 


80 ἠλαυδομεσθα φυγάδες, ἔξεδροι, χθονάς, 
δρόβμοὺς τε πολλοὺς ἐξέπλησα καμπίμους. 


ἐλθὼν δέ σ᾽ ἠρώτησα πῶς τροχηλάτου 


" “Ὁ ¥ > > 4 ’ ᾽ 3 ~ 
μανίας ἂν ἔλθοιμ᾽ εἰς τέλος πόνων τ᾽ ἐμῶν. 


73. θριγκώματα : 1.6. the coping of 
the altar, which was doubtless a con- 
spicuous object in front of the temple. 

74. ὑπ᾽ αὐτοῖς : the intensive pron. 
yebdiies the θριγκώματα (θριγκοί) 
apart from the βωμός. “And under 
that.” 

75. γέ: ay.— ἀκροθίνια ξένων : per- 
haps the heads of the victims are 
meant. It was said of the Taurians, 
caesorum capita fani parieti- 
bus praefigebant. τὴν δὲ κεφα- 
λὴν ἀνασταύρουσι Hat. iv. 103. 

76. Suggestive of the by-play of 
Pylades during the following apos- 
trophe of Orestes. 

77.“ Whither again into this snare?” 
Orestes had already been twice de- 


_ luded (as he believed) by the oracle, 


see Introd. pp.7f. The significance 
of αὖ is helped by ἐπειδὴ κτλ. v. 78. 

779. διαδοχαῖς : by relays of Furies, 
A metaphor from the 


chase, cf. οὐκ ἣν λαβεῖν [τοὺς ὄνους], 
εἰ μὴ διαστάντες οἱ ἱππεῖς θηρῷεν δια- 
δεχόμενοι Xen. 4. 1. 5 

80. ἠλαυνόμεσθα: pl. for sing., 
cf. vs. 36, 62, and see on y. 348. — 
ἔξεδροι χθονός : poetic expansion of 
ἐκ or ἔξω χθονός, cf. οὐκ ἔξεδρος, ἀλλ᾽ 
ἔντοπος ἁνήρ, “our man is not gone, 
but here,” Soph. Phil. 211. 

81. And ran many doubling stretches 
to the end. A metaphor from the 
δρόμος δίαυλος, or foot-race of the 
double course. — καμπίμους : said 
with reference to turning the post 
(κάμπτειν) in the race, cf. v. 815. 

82. ἐλθών: 6. to the Delphian 
shrine, see vs. 972 ff.— τροχηλάτου : 
whirling. The poet elsewhere uses the 
verb τροχηλατεῖν of the maddened 
Orestes, cf. δειναὶ δὲ Κῆρές σ᾽ ai κυνώπι- 
δες θεαὶ | τροχηλατήσουσ᾽ ἐμμανῆ πλα- 
νώμενον El, 1252, τὸ μητρὸς δ᾽ αἷμά 
viv τροχηλατεῖ | μανίασιν Or, 86, 


64 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


85 σὺ δ᾽ εἶπας ἐλθεῖν Ταυρικῆς μ᾽ ὅρους χθονός, 
»» > ¥ , 4 \ »¥ 
ἔνθ᾽ “Αρτεμίς σοι σύγγονος βωμοὺς ἔχει, 
λαβεῖν 7 ἄγαλμα θεᾶς, 0 φασιν ἐνθάδε 


3 ’ὔ \ 3 al A »» 
εἰς τούσδε ναοὺς οὐρανοῦ πεσεῖν ἄπο. 


λαβόντα δ᾽ ἢ τέ ἢ τύ Ἢ 
ἢ τέχναισιν ἢ τύχῃ τινί, 


90 κίνδυνον ἐκπλήσαντ', ᾿Αθηναίων χθονὶ 


δοῦναι" 


τὸ δ᾽ ἐνθένδ᾽ οὐδὲν ἐρρήθη πέρας 


καὶ ταῦτα δράσαντ᾽ ἀμπνοὰς ἕξειν πόνων. 


ἥκω δὲ πεισθεὶς σοῖς ἐόγοισο ἐνθάδε. 


ἄγνωστον εἰς yn, ἄξενον. --- σὲ δ᾽ ἱστορῶ, 


95 Πυλάδη, σὺ γάρ μοι τοῦδε συλλήπτωρ πόνου, 
τί δρῶμεν; ἀμφίβληστρα γὰρ τοίχων ὁρᾷς 


ὑψηλά: 


πότερα ae _Tpooap. Racers 


ἐκβησόμεσθα; πῶς ἂν οὖν λάθοιμεν av; 


85. εἶπας : of the divine command. 
Hence followed by the inf., GMT. 15, 
2, N. 8. 

86. "Aprepls σοι σύγγονος κτλ. : the 
oracle might have said simply σύγ- 
yovos, leaving it doubtful whose sister 
was meant. There is nothing to prove 
that Euripides thought of such an am- 
biguity, but Goethe adopts it in his 
Iphigenie: ‘Bringst du die Schwester, 
die an Tauris Ufer | Im Heiligthume 
wider Willen bleibt, | Nach Griechen- 
land, so loset sich der Fluch.’ Cf. v. 
1015. 

87 f. θεᾶς : pronounced as a mono- 
syllable in the verse, as often with 
forms of θεός or θεά, see on v. 270. 
—6 φασιν κτλ.: a divine origin was 
generally ascribed to ξόανα, wooden 
idols of immemorial antiquity. 

89. ἢ τύχῃ τινί: the happy event 
of the drama is covertly indicated in 
these words. 

91. τὸ δὲ... πέρα: as for the rest 
not a word was said further. 


2. ἕξειν : this inf. represents not a 
Χορ τω but a declaration of the 
oracle; the god said ἕξεις. 

94 f. σὲ δὲ κτλ.: the apostrophe to 
Apollo is at an end, and Pylades is 
addressed. Τὴ parenthesis σὺ yap 

. πόνου prevents abruptness in the 
transition. 

96-98. ἀμφίβληστρα τοίχων : the 
environing walls of the temple itself ; 
equiv. to τοίχους ἀμφιβεβλημένους, cf. 
ἐκβολὰς νεώς v. 1424. --- ὑψηλά: pre- 
dicative, sc. ὄντα. --- πότερα... ἐκβη- 
σόμεσθα : shall we mount to our goal by 
a ladder’s rungs? Perhaps, however, 
κλιμάκων προσαμβάσεις is merely a 
periphrasis for the ladder itself, by 
means of which the scaling (προσανα- 
βαίνειν) is done, cf. ἀνὴρ ὁπλίτης κλί- 
μακος προσαμβάσει:- | στείχει πρὸς 
ἐχθρῶν πύργον, ἐκπέρσαι θέλων Aesch. 
Sept. 466, προσφέρειν | πύργοισι πη κ- 
τῶν κλιμάκων προσαμβάσεις 
Phoen. 489. --- πότερα: correl. with ἤ 


7 7 


ἐπα 


v. 99.— ἐκβησόμεσθα : ἐκ in comp. is ket 


IPHIGENIA AMONG THE TAURIANS. 65 


LA χαλκότευκτα <A ΡῈ λύσαντες μοχλοῖς, 


fo 


(. gh ὧν οὐδὲν ἴσμεν; ἢν δ᾽ ἀνοίγοντες πύλας 


'ληφθῶμεν εἰσβάσεις τε ἘΌΝ, 


“θανούμεθ᾽. 


ἀλλὰ πρὶν θανεῖν, νεὼς ἔπι 


φεύγωμεν, ἧπερ δεῦρ᾽ ἐναυστολήσαμεν. 


ΠΥΛΑΔΗΣ. 


X 


4 \ > > Ἢ 50.9 Ἂ 7 
φεύγειν μὲν οὐκ ἀνεκτὸν οὐδ᾽ εἰώθαμεν, 


x ἴω ἴω Ν > 7, 
105 τὸν Tov θεοῦ Te χρησμὸν ov κακιστέον" 


ναοῦ δ᾽ ἀπαλλαχθέντε κρύψωμεν δέμας 


κατ᾽ avTp ἃ πόντος νοτίδι διακλύζει μέλας, 


Ἂς »¥ ’ 5 Ν ’ 
νεὼς ἄπωθεν, μή τις εἰσιδὼν σκάφος 
βασιλεῦσιν εἴπῃ kata ληφθῶμεν Bia. 


110 


4 \ Ν + ‘ ’ὔ ,ὔ 
ὅταν δὲ νυκτὸς ὄμμα λυγαίας μόλῃ, 


τολμητέον τοι ἕξεστὸν ἐκ ναοῦ λαβεῖν 
ἄγαλμα πάσας προσφέροντε μηχανάς. 


used of coming to the end sought, as 
in ἐξήκειν, ἐξικνεῖσθαι. Cf. also vs. 81, 
90, κλίμακ᾽ ἐκπέρα ποδί Phoen. 100. 

99 f. Forcing the bolted doors with 
crowbars is suggested as a second way 
of effecting an entrance. — dv οὐδὲν 
ἴσμεν : these words do not yield a satis- 
factory sense in the connexion, al- 
though there is nothing objectionable 
oe in the ellipse of the principal verb after 
%. Great uncertainty attaches to the 
text of the whole passage vs. 97-100. 

102 f. ἀλλά: nay; see on v. 999. 
The suggestion to relinquish an ap- 
parently desperate undertaking is 
perfectly natural in Orestes, despond- 
ent and sceptical as his experiences 
have made him. He is not wanting 
in courage, but needs the support 
and stimulus of another spirit un- 
shaken by guilt and persecution. 
Moreover, this dangerous enterprise 
is wholly for Orestes’ sake; hence, in 


$4 


view of the unselfishness which later 
in the play is seen to mark both the 
friends, it is natural that Pylades 
should be the more forward here, and 
that Orestes should shrink from the 
fatal consequences that are likely to 
overtake his companion. 

104 f. οὐδ᾽ εἰώθαμεν: nor is it our 
wont.— xpnopov: obj. of the verbal, 
see G. 281, 2; H. 990.— κακιστέον : 
κακίζειν is here clearly equiv. to κακῶς 
λέγειν, as Orestes had spoken v. 77. 

109. βασιλεῦσιν : generalizing pl., 
as we say the ‘authorities,’ see H. 
636 Ὁ. ---κἄτα : καὶ εἶτα “and so.” 

110-112. νυκτὸς ὄμμα λυγαίας : eve 
of dusky night, poetic phrase for night 
itself, cf. κελαινῆς νυκτὸς ὄμμα, Aesch. 
Pers, 428. --- τολμητέον tor: we must 
dare, I say.—mdoas . . . μηχανᾶς : 
bringing all possible contrivances to bear. 
The participle agrees with the agent, 
sc. νώ, see the ref. on v. 105. 


66 ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΈΝΕΙΑ. 


ped ιν , Ψ ς 
ὅρα δέ γ᾽ εἴσω τριγλύφων ὅποι κενὸν 


δέμας καθεῖναι. 
115 


OUTOL Ἐπ eae: μὲν ἤλθομεν. Kory πόρον, 


Ν 4 \ ε A 
τοὺς πόνους yap ayabol 
TOE δειλοὶ δ᾽ εἰσὶν οὐδὲν οὐδαμοῦ. 


᾿ 


ἐκ τερμάτων δὲ νόστον ἀροῦμεν πάλιν. 


ΟΡΕΣΤΗΣ. 


9 > > Ν > , 
ἀλλ᾽ εὖ yap elias, πειστέον" 


χωρεῖν χρεὼν 


ὅποι χθονὸς κρύψαντε λήσομεν δέμας. 


120 


3 Ν Ἂς ia , 5 » la 
ov yap τὸ τοῦδέ γ᾽ αἴτιον γενήσεται 


΄“ » , ἣν 
πεσεῖν ἄχρηστον θέσφατον: τολμητέον" 

’ὔ Ἂ 39 \ lal , “ ree 
μόχθος yap οὐδεὶς Tots νέοις σκῆψιν φέρει. 


ΧΟΡΟΣ. 


3 > 
εὐφαμεῖτ᾽, ὦ 


πόντου δισσὰς συγχωρούσας 


125 πέτρας Εὐξείνου ναίοντες. 


113 f. ὅρα δέ ye: only see! Pylades 
calls attention to the fact that there 
is opening enough in the frieze for a 
man to let himself down inside (ὅποι 
—by assimilation for ὅπου --- κενόν 
ἐστιν ὥστε δέμας εἴσω τριγλύφων κα- 
θεῖναι), thus taking up with Orestes’ 
suggestion of ladders v. 97. In the 
oldest Doric temples, between the 
ends of the cross-beams (later repre- 
sented by the τρίγλυφοι in the stone 
construction) there were open spaces 
(later panels μετόπαι). Of. Or. 1871, 
where a slave escapes from the palace 
between the triglyphs, Δωρικὰς τριγλύ- 
gous. — ἀγαθοί: οἱ ἀγαθοί. 

116 f. We certainly have not rowed 
this long voyage, only to take up our 
departure home again from the very 
goal. This is in reply to vs. 102 f. 
The neg. οὔτοι logically modifies the 


sent. as a whole, but the second clause 
receives the emphasis of the negation. 
“ After we have come all this way, we 
won’t go back empty-handed.” 

118. ἀλλὰ... γάρ: at enim. H. 
1050, 4 ἃ, cf. v. 646 and the note. 
. 119. ὅποι χθονός : for ἐκεῖσε ὅπου = 
χθονός by assimilation, cf ν. 118. --- > 
κρύψαντε λήσομεν : denotes purpose, 
as regularly with rel., G. 286, H. 911: 
for the participle, G. 279, 4; H. 984: 
“may hide ourselves unobserved,” 

ΤΟΣ “It shall certainly be I 


ae 
— τὸ mabe equiv. to τοὐμόν, 1.6. με ω" 


122. Hxeunt ambo. mee). | 


II. Paropos, vs. 123-235. 


The chorus enters the orchestra in 
solemn procession. Of whom it con- 


IPHIGENIA AMONG THE TAURIANS. 67 


> A a ἴω 
ὦ παι Tas AaTous, 


/ 3 5 rd 
Δικτυνν ovpeia, 


Ἦν Ν > ’ὔ’ 5 4 
πρὸς σὰν aviav, εὐστύλων 


ναῶν χρυσήρεις θριγκούς, 


130 


ε / ν ’ ’, 
OOLAS οσίιον πόδα παρθένιον 


κλῃδούχου δούλα eae 


Ἑλλάδος εὐΐππου πύργους 


καὶ τείχη χδῤτων, T εὐδένδρων 


135 


ἐξαλλάξασ᾽ Ἑὐρώπαν, 


΄, » + 
TAT PW@WV OLK@YV € pas. 


sists, and the purpose of its coming, 
has already been seen, vs. 63 ff. See 
also Introd. p. 32, and for the metre 
ib. pp. 44 ff. 

123-125. Admonitory prelude, ad- 
dressed to the public. — εὐφαμεῖτε: 
favete linguis.—-ovrov... vai- 
ovres: the Taurians are with poetic 
freedom termed dwellers of the double 
clashing rocks, etc. The Symplegades, 

_the mythical key to the Euxine waters, 
are continually named in speaking of 
these regions by Euripides, with his 
impressible fancy for the picturesque 
in nature. See vs. 241, 260, 355, 1389. 
— συγχωρούσας πέτρας: cf. v. 422, 
συνδρόμων.... πετρᾶν Pind. Pyth. iv 
370. Pindar, /.c., briefly relates what 
the Symplegades were, δίδυμαι γὰρ 
ἔσαν (wal, κυλινδέσκοντό τε κραιπνότεραι 
ἢ βαρυγδούπων ἀνέμων στίχες. 

126-136. Addressed to the goddess. 

126. ras Λατοῦς: τῆς Λητοῦς. For 
the dialectic form, see Introd. p. 43. 
So above, εὐφαμεῖτε for εὐφημεῖτε, be- 

low σὰν αὐλάν for σὴν αὐλήν, δούλα for 

εὐ λα, Εῤρώπαν for Εὐρώπην, ete. 

127. Dictynna of the mountains, a 


πὸ Meta name of Artemis, as goddess 


_ of the chase (δίκτυον “ hunting-net’’), 
. τὰν πολύθηρον Δίκτυνναν Hipp. 148. 


128 f. εὐστύλων... θριγκούς : the 
gilded cornice of thy pillared fane; part 
for the whole, grammatically in app. 
to avAdv. This poetic phrase brings to 
view the most striking characteristic 
features of a temple, cf. αὐδῶ μὴ χρίμ- 
mre θριγκοῖς | und εἰς χρυσήρεις οἴκους 
Ion. 156, of the temple at Delphi; 
‘Built like a temple, where pilasters 
round | Were set, and Doric pillars 
overlaid | With golden architrave ’ 
Milton P. ZL. i. 715. 

130 f. A holy guardian’s slave, my 
holy virgin foot I guide. — πόδα πέμπειν 
is a most appropriate expression for 
a solemn march (πομπή). --- κλῃδού- 
xov: of Iphigenia as warder of the 
temple. In some of the antique 
pictorial designs taken from the 
present legend, the priestess is to be 
recognized by the key which she 
carries. Similarly she is termed πυ- 
λωρός V. 1153, cf v. 1468. 

132-135. The accusatives are the 
direct objects of ἐξαλλάξασα, cf. ἱερὸν 
Τμῶλον ἀμείψασα Bacch. 65, said of 
themselves by the chorus who have 
passed from Asia into Europe. — xop- 
tov: gen. of property with Εὐρώπαν, 
a const. the reverse of Ἑλλάδος πύρ- 
yous καὶ τείχη. Obs. the chiastic ar- 


68 EYPITIAOY I®ITENEIA. 


ἔμολον" τί νέον; τίνα φροντίδ᾽ ἔχεις; 
» » 

τί με πρὸς ναοὺς ayayes ayayes, 

ὦ παῖ τοῦ τᾶς Τροίας πύργους 


~~ 
> 
- pb A ie ie 


140 ἐλθόντος κλεινᾷ σὺν κώπᾳ 
4 nw 
χιλιοναύτᾳ μυριοτευχεῖ, 


σπέρμ᾽ ᾿Ατρειδᾶν τῶν κλεινῶν; 


IPITENEIA.: 


ἰὼ duoat,, 
δυσθρηνήτοις ὡς θρήνοις, 


ἔγκειμαι, τὰν οὐκ εὐμουσον. 
μέλπουσα βοὰν ἀλύροις ἐλέγοις, 


145 


αἰαῖ; κηδείοις OLKTOLS, 
ΨΥ 
οἷαι μοι συμβαίνουσ᾽ ἅται, 
4 
σύγγονον ἀμὸν κατακλαιομένᾳ 


ἕωᾶς-ἀπλακόάνθ', 


rangement (ἃ Ὁ, ba) in these lines. 
— The land of the Taurians is thought 
of as Asiatic, and Europe with its 
woody tracts is regretfully contrasted 
with the barrenness that here pre- 
vails, cf. vs. 218 f. 

137-142. Addressed to Iphigenia, 
who enters from the temple, with an 
attendant bearing the drink-offering 
in a golden urn. — Metrically, the pas- 
sage approaches nearly to a regular 
anapaestic system, but the Dorisms 
show that the lyrical character is 
maintained : ἄγαγες for ἤγαγες, Tas for 
τῆς, κλεινᾷ κώπᾳ χιλιοναύτᾳ for κλεινῇ 
κώπῃ χιλιοναύτῃ, ᾿Ατρειδᾶν for ᾽Ατρει- 
δῶν. 

139 ff. ὦ παῖ κτλ.: cf. ὦ τοῦ στρα- 
τηγήσαντος ἐν Τροίᾳ ποτὲ | ᾿Αγαμέμ- 
vovos mat Soph. El. 1. --- κώπᾳ : here 
for armament, just as δόρυ often for 
army.— puptorevyet: of the number 
of men, τεῦχος being a poetic equiva- 


lent of ὅπλον, as revxnoths, Aesch. 
Sept. 644, is of ὁπλίτης. 

143-151. Both phraseology and 
structure are highly characteristic of 
the lyrical style of tragedy. δυσθρή- 
νήτοι θρῆνοι, οὐκ εὔμουσος Boh, ἄλυροι 
ἔλεγοι are similar expressions and vir- 
tual repetitions of one thought. The 
rel. clauses introduced by ofa and 
οἵαν are causal and exclamatory, like 


ὡς αὖ the beginning. How am I plunged 


in lamentations deep, chanting the cry 
unmusical, with dirges meet not for the 
lyre —wailings, alas, for kindred gone, 
such are the afflictions that befall me! 
146. ἀλύροις : funereal hymns called 
for an accompaniment by the Phry- 
gian flute, not the lyre. Cf τὸν δ᾽ 
ἀνεὺ λύρας... θρῆνον "Ἐρινύος Aesch, 
Ag. 990, οὐ vdBra κωκυτοῖσιν, od λύρα, 
φίλα Soph. Frag. 728. faded 
149. ἀμόν : ἐμόν. π-κατακλαιομένᾶ: Be 
adapted grammatically to ἔγκειμαι v. hae 


ΓΝ 


IPHIGENIA AMONG THE TAU 


150 


155 


160 


165 


οἵαν ἰδόμαν ὄψιν δρεύρων. 
νυκτός, Tas ἐξῆλθ᾽ ὄρφνα. 
ὀλόμαν ὀλόμαν- 
οὐκ΄ ‘elo οἶκο πατρῷοι : 
οἴμοι φροῦδος. γέννα. 
φεῦ ge TOV Ἄργει μόχθων. 
ἰὼ ἰὼ δαίμων, ὃς τὸν 
μοῦνόν με aren Toe cuhas 
"Avda πέμψας, ᾧ τάσδε χοὰς 
μέλλω κρατῆρα τε τὸν φθιμένων 
ὑδραίνειν γονῆς ἐν νώτοις," 
πηγάς T Cay ata ἐκ μόσχων 
Βάκχου τ᾽ οἰνηρὰς λοιβὰς 
ξουθᾶν τε πόνημα μελισσᾶν, 
ἃ νεκροῖς θελκτήρια κεῖται. 


IANS. 


69 


here. 


148. ---- amdakovra: reft; from ἀμπλα- 
κίσκειν, equiv. tO ἁμαρτάνειν. 

151. This night whose gloom has just 
departed. — τς : τῆς relative. 

152 ff. The passage is a δυσθρήνη- 
τος θρῆνος, to apply the term used by 
Iphigenia herself. 

154. φροῦδος : pred., sc. ἐστί. See 
H. 611 a. With the death of the only 
son the family is extinct. 

156. δαίμων : no particular divinity, 
but the evil genius of the race, the 
personified calamitous destiny of the 
Tantalidae. Cf. vs. 202 ff., 987 f. 

160. κρατῆρα φθιμένων : dow! of the 
deceased. The libatory urn is to the 
dead what the wassail bowl is to the 
living, cf. λοιβὰν “Αιδα v. 169. 

162-166. The particles are correla- 


tive. —'The ingredients of the χοαί are 


milk, wine, and honey. Water, which 
is usually named, is not mentioned 
Olive oil See flowers might be 


added. Cf. χοὴν xedunv πᾶσιν νεκύεσ- 
ow, | πρῶτα μελικρήτῳ (honey and 
milk), μετέπειτα δὲ ἡδέι οἴνῳ, | τὸ τρί- 
τον αὖθ᾽ ὕδατι ἐπὶ δ᾽ ἄλφιτα λευκὰ πά- 
λυνον Hom.A 26; πρευμενεῖς χοὰς | φέ- 
ρουσ᾽, ἅπερ νεκροῖσι μειλικτήρια, | Bods 
T ἀφ᾽ ἁγνῆς λευκὸν εὔποτον γάλα, | τῆς 
τ᾽ ἀνθεμούργου στάγμα, παμφαὲς μέλι, | 
λιβάσιν ὑδρηλαῖς παρθένου πηγῆς μέτα, 
| ἀκήρατόν τε μητρὸς ἀγρίας ἄπο | ποτὸν 
παλαιᾶς ἀμπέλου γάνος τόδε" | τῆς τ᾽ 
αἰὲν ἐν φύλλοισι θαλλούσης ἴσον | ξανθῆς 
ἐλαίας καρπὸς εὐωδὴς πάρα, ἄνθη τε 
πλεκτά, παμφόρου γαίας τέκνα Aesch. 
Pers. 609 ff. 

162. οὐρείων : mountain - ranging, 
hence not subject to the yoke, and 
suited for sacrificial purposes, cf. Bods 
τ᾽ ap ἁγνῆς Aesch. l.c. 

164 f. Bacchus’ winy flood and the 
gathered toil of yellow bees ; cf. vs. 634f. 

166. Gifts that are laid to charm and 
soothe the dead ; cf. ἅπερ νεκροῖσι μειλικ- 


70 ΕΥ̓ΡΙΠΊΔΟΥ IGITENEIA. 


ἀλλ᾽ ἔνδος μοι πάγχρυσον 
τεῦχος καὶ λοιβὰν “Αιδα. 


170 


θάλος, ὡς φθιμένῳ τάδε σοι πέμπω" 
οὐ γὰρ πρὸς τύμβον σοι 
ξανθὰν χαίταν, οὐ δάκρυ᾽ οἴσω. 


δέξαι δ᾽. 


175 


> Pak, , 9 ,ὕ 
ὦ κατὰ γαίας ᾿Αγαμεμνόνιον 


τηλόσε γὰρ δὴ σᾶς devo Onv 


πατρίδος καὶ ἐμᾶς, ἔνθα δοκήμασι ἤγπο, 4 


κεῖμαι σφαχθεῖσ᾽ a τλάμων. | 


ΧΟΡΟΣ. 
ἀντιψάλμους ὠδὰς ὕμνον T 


180 


“| δέσποιν᾽, ἀντεξαυδάσω, 
τὰν ἐν θρήνοισιν μοῦσαν 


τήρια Aesch. l.c.— κεῦται : for the more 
specific σπένδεται, but approaching 
the sense of νομίζεται. Cf. νόμος κεῖται. 

167 f. Said to the attendant who 
bears the {1}. --- ἔνδος por: hand me. 
--Αιδα: Doric genitive. 

170-177. These words accompany 
the pouring, and are addressed to the 
shade of Orestes. In form, the pas- 
sage, like vs. 137-142, approximates 
to a regular system, but with Dorisms 
and spondaic paroemiac as before. 

171. θάλος : scion. — ods: Iphigenia 
speaks of her brother’s death as a 
conviction, not a certainty, and the 
particle is especially significant to the 
spectator of the play. 

— 172 f. Cf v. 703. A lock of hair, 
freshly shorn from the mourner’s 
head, was laid upon the grave. 

175 ff. ἀπενάσθην : from ἀποναίειν. 
— δοκήμασι: in the belief of men.—et- 
μαι : lie low, as often κεῖσθαι of death. — 


᾿Ασιήταν σοι, βάρβαρον axay, 4 


a τλάμων : emphatically placed, with 

the effect of an interjection. 
179-185. Prelude, an echo to that ; 
of Iphigenia, vs. 143-151. Observe ἢ 

the similarity of the two passages in 
thought and phrase. 4 

179. ἀντιψάλμους : responsive; said 
here without regard to the strict sense - 
« 


of ψάλλειν, which means to pick the 
string. Cf. τοῖς cots ἐλέγοις ἀντιψάλλων 
ἐλεφαντόδετον φόρμιγγα Ar. Av. 216. 

180. The epithets apply not to the . 
language, but to the tone. Melan- 
choly dirge-music was native to Asi- 
atic peoples, as all demonstrative 
excess in mourning was oriental, not 
Greek. Cf. καὶ στέρν᾽ ἄρασσε κἀπιβῶ 
[ἐπιβόα] τὸ Μύσιον Aesch. Pers. 1048, 
ἔκοψα κομμὸν ἔΑριον id. Cho. 428, αἴλιον 
αἴλινον . .. βάρβαροι λέγουσιν, αἰαῖ, "Age cee ih 
ἀδι φωνᾷ on Or. 1395. 

181. ἀντεξαυδάσω: 
αὐδᾶν. 


αὐδήσω, from 


=; 
¥ 


185 


190 


᾿ » 
vr‘ f 


s ΄, Ν Ν γες- 
νέκυσι μελομέναν, τὰν ἐν μολπαῖς 


“Avdas ὑμνεῖ δίχα παιάνων. 


» ἴω > ων » 
οἴμοι, τῶν ᾿Ατρειδᾶν οἴκων 
ἔρρει φῶς σκήπτρων, οἴμοι, 
TOV Mw. πατρῴων οἴκων. 
οὐκέτι τῶν εὐόλβων κύνα 
βασιλέων BENS ᾿ 
μόχθος δ᾽ ἐκ μόχθων ᾷσσει, 
δινευούσαις ἵπποις ὅπότε 
πταναῖς ἀλλάξας ἐξ ἕδρας 
ε Ν la > »” > > ἴω 
ἱερὸν μετέβασ᾽ ὄμμ᾽ αὐγᾶς 


IPHIGENIA AMONG THE TAURIANS. 


v4 Ont 


71 


184 f. νέκυσι μελομέναν : dear to the 
dead. Cf. Bog βαρβάρῳ ἰαχὰν στενακ- 
τὰν μελομέναν νεκροῖς δάκρυσι θρηνήσω 
Phoen. 1801. ---- τάν : rel.,as v. 151. --- 
δίχα παιάνων : const. with ἐν μολπαῖς, 
and cf. ἀλύροις ἐλέγοις v. 146. The 
paean is joyful like the music of the 
lyre. 
186-202. This is the ὕμνος ᾿Ασιήτης, 

the βάρβαρος ἠχή, in response to Iphi- 
genia, vs. 152 ff. 
186 f. οἴκων : limits φῶς σκήπτρων. 
- ἔρρει φῶς σκήπτρων : the light of its 
sceptre is departed. But φῶς is said 
esp. with ref. to a person. Cf. the 
words of Atossa, on being informed 
that her son Xerxes lives: δώμασιν 
φάος μέγα Aesch. Pers. 299, ὄμμα γὰρ 
δόμων νομίζω δεσπότου παρουσίαν ib. 169. 
ὙΠ v. 848 f. 
190. βασιλέων : 
~~ Ὑ 910. 

191 ff. Sorrow after sorrow springs 
apace, ever since (ὁπότε) the sun with 
circling winged steeds changed his heav- 
_enly station and moved his sacred eye of 
radiance away. The chorus looks 
_ back to the original crime in the 


trisyllable, see on 


chain of evils. A lamb with golden 
fleece, a token of the sovereignty, 
made its appearance among the flocks 
of Atreus. His brother Thyestes, 
with the help of Atreus’ wife Aerope, 
whose affections he had alienated 
from her husband, secured the prize 
and banished Atreus. This led to a 
miserable feud between the brothers, 
and in due time to the famous ‘ Thy- 
estean meal,’ whence the curse of 
Thyestes against Atreus and his race, 
and the miracle of the sun-god turn- 
ing back in horror. See vs. 812 f., 
816; also El. 718, Or. 812, 996, where 
the story is told in lyrical language. 

192. δινευούσαις : δίνη (eddy, vor- 
tex) was a current word of the move- 
ments of the heavenly bodies, cf. 
ovpavial τε δῖναι νεφέλας δρομαίου Alc. 
245; ridiculed by Aristophanes, δῖ- 
vos βασιλεύει, τὸν AL ἐξεληλακώς Nub. 
828. 

193 f. ἀλλάξας ἐξ ἕδρας: cf ‘the 
prosaic expression for an eclipse, ἐκλι- 
πὼν τὴν ἐκ τοῦ οὐρανοῦ ἕδρην Hat. vii. 
37. Here the participle governs ὄμμα. 
---μετέβασε: μετέβησε, cf v. 215. 


72 EYPINIAOY ἸΦΙΓΈΝΕΙΑ. 


195 ἅλιος: 


χρυσεία ἀρνὸς ᾿μελάϑροις ὀδύνα, 
φόνος ἐπὶ φόνῳ ἄχεά τ 
ἐνθ Δ σθεν δμαδ 

ἔνθεν τῶν fg εν Oma EVTWV 


200 


εἰς οἴκους - σπεύδει δ᾽ Phe, 


ἐπὶ σοὶ δαίμων. 


ΙΦΙΓΕΝΕΙΑ. 


ἐξ ἀρχᾶς μοι δυσδαίμων 
δαίμων τᾶς. ματρὸς ζώνας 


205 


λόχιαι στερρὰν παιδείαν 

Μοῖραι συντείνουσιν Peat, . 

ἃ , ’ὔ 9 , 

av πρωτόγονον θάλος ἐν θαλάμοις 


210 


195 ff. Now one and now another 
misery from the golden lamb to the man- 
sion came, murder on murder, woes on 


woes ; whence ts wreaked upon the house ἡ 


_ vengeance for the Tantalidae formerly 
laid low, and at last the demon visits 
his awful zeal on THEE ! — τῶν πρόσθεν 
δμαθέντων : first in the series were the 
slaughtered children of Thyestes, as 
the chorus reckons. — ἐκβαίνει : for 
ex in comp. see on v. 98. --- σπεύδει δ᾽ 
ἀσπούδαστα: cf. δυσθρηνήτοις θρήνοις 
ν. 144, δυσδαίμων δαίμων ν. 208, νύμφαν 
δύσνυμφον ν. 210, χάριν ἄχαριν Vv. 566, 
ὁδοὺς ἀνόδους v. 888. --- σοί: is em- 
phatic by antithesis, but δαίμων is so 
placed as to receive the musical em- 
phasis. See on ’Opécrtay v. 235. 
203-205. δυσδαίμων δαίμων : adapt- 
ed to the last words of the chorus, 
the key-note of the strain. — {avas: 
alludes to the symbolical ζώνην λῦσαι, 


ἄλλοτε δ᾽ ἄλλα προσέβα 


IEE ποινὰ Τανταλιδᾶν 


A Ἅ, ’ 5 νὰ ~ 
Kal νυκτὸς κείνας" ἐξ ἀρχᾶς 


Λήδας ἁ τλάμων κούρα 


ἄχεσιν᾽ 


7 


zonam solvere.—vukros κείνας: ἵ.6, 
her mother’s wedding night. By the 
vow of Agamemnon (vs. 20 f.) an evil 
destiny attended the very conception 
of his first-born child. 

205-207. ἐξ ἀρχάς : repeated from 
v. 203. The anaphora is effective, cf. 
vs. 227 f., and see on v. 480. --- λόχιαι 
κτλ.: have the Fates divine of my natal 
hour drawn hard for me a stern training. 
συντείνειν properly denotes any tight 
strain, here of the threads spun by the 
Parcae. —@eai: monosyllabic. See 
on v. 270. The verse is catalectic. ° — 

209-217. Me, the first-born scion in 
her halls, whom Leda’s wretched daugh- 
ter bore and bred a victim to cruel out- 
rage ata father’s hand, a joyless sacri-— 
Sice — me whom, doomed by the vow, they 
brought with horses and chariots to Auli’ 
sandy shore, a bride, alas, that was no th 4 


bride, for the son of Nereus’ daughter, 


IPHIGENIA AMONG THE TAURIANS. 73 


Age gtht 


σφάγιον PAIGE λώβᾳ 

καὶ θῦμ᾽ οὐκ Ἐὐγάθητον Ὑ ἄς 
ἔτεκεν ἔτρεφεν, εὐκταίαν ἃν 
ἱππείοις ἐν δίφροισι 


215 


ψαμάθων Αὐλίδος ἐπέβασαν 


νύμφαν, οἴμοι, δύσνυμφον 

nw nw , 4 > A 
Tw Tas Νηρέως Kovpas, ata. 
νῦν δ᾽ ᾿Αξείνου πόντου ἕείνα 


δυσχόρτους οἴκους ναίω 


220 


ἄγαμος ἄτεκνος ἄπολις ἄφιλος, 


259 ἃ μναστευθεῖσ᾽ ἐξ Ἑλλάνων, 


οὐ τὰν ἼΑργει μέλπουσ᾽ Ἥραν 
οὐδ᾽ ἱστοῖς ἐν καλλιφθόγγοις 
κερκίδι Παλλάδος ᾿Ατθίδος εἰκὼ 


καὶ Τιτάνων ποικίλλουσ᾽, ἀλλ᾽ 


woe is me! Note the alliteration (pa- 
ronomasia) in this passage: θάλος ἐν 
θαλάμοις, θῦμ᾽ οὐκ εὐγάθητον, εἰς. --- 
σφαγιον, θῦμα : pred. nouns, the same 
idea being again expressed in εὐκταίαν 
(votiv am).—evyd@nrov : γηθεῖν. — 
εὐκταίαν : emphasized by its position 
before the rel., cf. v. 72.— ψαμάθων : 
the gen. is due to ἐπί in comp. Cf. 
ὥς κ᾿ ἐμὲ τὸν δύστηνον éuys ἐπιβήσετε 
πάτρης Hom. ἡ 228. ---νύμφαν : pred. 
ΠΟΌΗ. --- Νηρέως κούρας : Thetis. 

218 f. Cf. τὸν δὲ Πόντον kar’ ἐκεί- 
νους τοὺς χρόνους (the times of the 
Argonauts), περιοικούμενον ὑπὸ ἐθνῶν 
βαρβάρων καὶ παντελῶς ἀγρίων, ἄξενον 
προσαγορεύεσθαι, ξενοκτονούντων τῶν 
ἐγχωρίων τοὺς καταπλέοντας Diod. Sic. 
iv. 40; σὺν Νότου δ᾽ αὔραις ἐπ᾽ ᾿Αξείνου 


2 Sl πεμπόμενοι Pind. Pyth. iv. 361. 


posite of χόρτων εὐδένδρων, see on Vv. 
134. The whole passage, vs. 218-228, 
teems with contrasts. 

220 f. The point of the second line 
is in its contrast with the first. —é€: 
equiv. in sense to ὑπό, as often in 
tragedy. The supposed suit of Achil- 
les is here meant. 

221-224. Hera was the patron god- 
dess at Argos, as Pallas at Athens. 
Obs. that Iphigenia dwells upon the 
thought of Pallas, as if she were her- 
self an Athenian woman. — ove... 
ποικίλλουσα : upon the peplus, which 
was woven by high-born Athenian 
dames and maidens for the Panathe- 
naic festival, exploits of the goddess 
were represented, such as her partici- 
pation in the battle of the gods and 
giants. — καλλιφθόγγοις : the pleas- 
ant hum of the comb (xepxis) in weav- 
ing (cf arguto coniunx percur- 
rit pectine telas Verg. Geor. i, 


74 ΕΥ̓ΡΙΠΙΔΟΥ IGITENEIA. 


225 αἱμόρραντον͵ δυσφόρμ Woe, Ey 


ξείνων αἱμάσσουσ᾽ a 
οἰκτράν τ᾽ αἰαζόντων αὐδὰν 
οἰκτρόν 7 ἐκβαλλόντων δάκρυον. 


καὶ νῦν κείνων μέν μοι λάθα, | 
230 τὸν δ᾽ Ἄργει δμαθέντα͵ κλαίω" 


ΡΥ. 


TUYY Bs ὃν ἔλιπον ἐπιμάστίδιον 


ἔτι βρέφος, ἔτι νέον, ἔτι θάλος 


ἐν χερσὶν ματρὸς πρὸς στέρνοις Ἢ 


235 "“Apyet σκήπτοῦχον ᾽᾿Ορέσταν. 


ΧΟΡΟΣ. 


καὶ μὴν ὅδ᾽ ἀκτὰς ἐκλιπὼν θαλασσίους 


βουφορβὸς ἥκει σημανῶν τί σοι νέον. 


294) is remembered in contrast with 
the voice of lamentation mentioned 
below. — ποικίλλουσα : equiv. to ror 
κίλην ὑφαίνουσα. 

225-228. Leading guests to their 
blood-besprinkled, sad-sounding doom, 
whilst they wail with piteous voice and 
let fall a piteous tear. — Svedcppryya : 
equiv. to ἄλυρον, see on v. 146. The 
text of v. 226 is uncertain, although 
such phrases as αἱμάσσουσ᾽ ἄταν (free 
cognate acc.) are not uncommon in 
lyrical language. — οἰκτράν τε... 
οἰκτρόν τε: anaphora. 

229-235. κείνων : of all that; neut. 
plural. —Spa0eévra: the lengthening 
of the final syllable by position before 
κλαίω is very exceptional, cf. on v. 51. 
— ἐπιμαστίδιον : metrically defective, 
as the synaphea requires a consonant 
at the beginning of v. 232 to lengthen 
the final syllable of this word. The 


syllaba anceps is allowed only at the 


end of the paroemiac, see G. 286, 5; 


~H. 1074 b.—For the reminiscence 


here, cf. vs. 372 ff., 834 ἢ. -- -τῥορέσταν: 
the name of Orestes, with its epithets 
of honor, is saved up to the end of 
the whole passage for the sake of 
emphasis and pathos. A lyric strain 
often thus ends with a proper name, 
cf. μολόντα τάνδε γᾶν ᾿ρέσταν Soph. 
El. 163. 


III. First Erxrsopion, vs. 236-391. 


236 f. Lo, here comes, etc. Spoken 
by the coryphaeus, as are all iambic 
trimeters attributed to the chorus in 
the dialogue of tragedy. From his 


position in the orchestra, facing the 


scene, the leader of a chorus is gen- 
erally-the first to observe the ap- 
proach of persons from without. — 
καὶ μήν : often used in calling atten- 


ae ee εὖ. 


eT ie CU i one © 


IPHIGENIA AMONG THE TAURIANS. 


75 


BOYTKOAO®S. 


᾿πγομεμνονός τε καὶ Re au o rags τέκνον, 
ἄκουε καινῶν ἐξ ἐμοῦ κηρυγμάτων. 


IPITENEIA. 


240 τί δ᾽ ἔστι τοῦ παρόντος ἐκπλῆσσον λόγου; 


ΒΟΥΚΟΛΟΣ. Y 


ἥκουσιν εἰς γῆν, κυάνέαν Συμπληγάδα 
πλάτῃ φυγόντες, δίπτυχοι νεανίαι, 


Bea φίλον πρόσφαγμα καὶ θυτήριον 


Ard utd. 
245 


ΩΣ 


χέῤνιβας δὲ καὶ κατάργματα 
οὐκ ἂν φθάνοις ἂν εὐτρεπῆ ποιουμένη. 


ΙΦΙΓΕΈΝΕΙΑ, 


ὃ , , A »” δον ε , 
ποδαποί; Tivos γῆς ὄνομ᾽ ἔχουσιν οἱ ξένοι; 


ΒΟΥΚΟΛΟΣ. 


Ἕλληνες’ 


tion to the entrance of a new person; 
logically, to a new head or subject of 
discourse. —68e: deictic, cf. vs. 268, 
285, 456, 460, 724, 727, 1156, 1157, 
1222. 

238 f. Obs. the formal and impor- 
tant air of the address. For the 
part which the herdsman plays in 
the dramatic economy, see Introd. 
p. 30. 

240. What is it interrupts us in our 
colloquy? —dAdyou: gen. after ἐκ in 
composition. 6 παρὼν λόγος “ the pre- 
sent discourse,” “‘ our musings,” which 
had been suddenly disturbed by the 
entrance of the messenger. See on 


᾿ λόγον v. 578. 


ἧς. 


241. κυανέαν : ornamental epithet, 
suiting anything that pertains to the 


‘dark blue ocean.’ — Συμπληγάδα : 


ἃ ἄς »5 > > | wi 
ἕν TOUT οἶδα κοὐ περαιτέρω. 


the sing. of this word is comparatively 
rare, cf. vs. 746, 889 f., ποντίαν Ἐυμπλη- 
γάδα Andr. 794. 

242. Simrvxor: poetically for δύο, 
cf. vs. 474, 1289, 264 (δισσούς), 456 
(δίδυμοι). Apt phrases for the insep- 
arable pair, the ‘ Damon and Phintias’ 
of the legend. 

243. πρόσφαγμα καὶ θυτήριον : 
couplet of synonymous words, ¢f. 
opdyiov...kal θῦμα ν8. 211f., ras... 
τρόπῳ θ᾽ ὅποίῳ vs. 256 f., χρὴ .. . καὶ 
νομίζεται ν. 471, ἐπιστάμεσθα καὶ γιγνώ- 
σκομεν V. 491. 

244 f. χέρνιβας δὲ καὶ κατάργματα : 
another couplet; the herdsman is full 
and running over. See on v. 40. --- 
οὐκ ἂν φθάνοις KTA.: you cannot be too 
soon in getting ready. See GMT. 112, 
2, N. 3. 


76 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


IPITENEIA. 


οὐδ᾽ ὄνομ᾽ ἀκούσας οἶσθα τῶν ξένων φράσαι; 


ΒΟΥΚΟΛΟΣ. 


LL Arndt 


Πυλάδης ἐκληζεθ᾽ ἅτερος πρὸς θατέρου. — 


LN of ἸΦΙΓΈΝΕΙΑ. 
250 τοῦ ξυζύγου δὲ τοῦ ἕένου τί τούνομ᾽ ἦν; 
ΒΟΥΚΌΛΟΣ τον ἢ 
a aa A bear 
οὐδεὶς τόδ᾽ οἶδεν: οὐ yap εἰσηκούσαμεν. 
ἸΦΙΓΈΝΕΙΑ. 
~ > » ) 5 Χ Ν , ν 
πῶς δ᾽ εἴδετ᾽ αὐτοὺς καὶ τυχόντες ELETE; 
peraahruc BOTKOAOZ. 
ἄκραις ἐπὶ ῥηγμῖσιν ἀξένου πόρου. 
ΟΙΦΙΓΈΝΕΙΑ. 
τῷ 
καὶ τίς θαλάσσης βουκόλοις κοινωνία; 
τς BOTKOAO3., 
255 βοῦς ἤλθομεν νίψοντες arte δρόσφ. 
ΙΦΙΓΈΝΕΙΑ. 
ἐκεῖσε δὴ ᾿πάνελθε, πῶς νιν εἵλετε 
’ὔ’ 3 ε ’ ἴω Ν “A - 
τρόπῳ θ᾽ ὁποίῳ. τοῦτο yap μαθεῖν θέλω. 
248. οὐδέ: is due to ἕν τοῦτο κτλ. 


v. 247; ὄνομα in v. 246 is probably 
wrong. — οἷσθα : superfluous to the 
Eng. idiom. “ Didn’t you even hear 
one of their names to tell us?” — 
φράσαι: ὥστε φράσαι. 

249. See v. 285. Iphigenia knows 
nothing of Pylades, see vs. 916-920. 
— ἅτερος : 6 ἕτερος. --- θᾶτέρου: τοῦ 
ἑτέρου. ---- πρός : for ὑπό, as ἐξ v. 221, 
cf. vs. 865, 368, 692. 

250. τοῦ ξυζύγου τοῦ ξένου: of the 
stranger who was his mate. The const. 
seems to be like 6 ἀνὴρ 6 ἀγαθός, treat- 
ing ξένου as an adjective. 


252. τυχόντες εἵλετε: much the 
same as ἑλόντες ἐτύχετε, cf. ἣν κυρῶν 
(1.6. ὧν ἐκύρει) Soph. Phil. 371, 1b. 844. 

253. ἐπί: a syllable may be long 
by position before initial p in the 
iamb. trim. Cf σώματος μέγα ῥάκος | 
Aesch. Pr. 1023. — ἀξένου πόρου : the 
sea is a πόρος (thoroughfare) of ships, 
as Aeschylus calls the sky πόρον oiw- 
νῶν Pr.281. Cf. v. 1888, Αἰγαῖον πόρον 
Troad. 82, Εὐξείνου πόρου Andr. 1262. 

256. The herdsman had begun to 
tell his story at v. 253, but Iphigenia © 
interrupted him with a new question. | 
She now bids him resume his narra- 


IPHIGENIA AMONG THE TAURIANS. 77 


ty torts 


ΟΝ δὰ ἤκουσ᾽ οἵδ᾽ ἐπεὶ βωμὸς θεᾶς 
ἙἙλληνικαῖσιν ἐξεφοινίχθη ῥοαῖς. 


_BOYKOAOS. 


260 


ἐπεὶ TOV εἰσρέοντα διὰ Συμπληγάδων 


βοῦς ὑλοφορβοὺς πόντον εἰσεβάλλομεν, 


ἦν τις διαρρὼξ κυμάτων πολλῷ σάλῳ 


κοϊλωπὸς ἀγμός, πορφυρευτικαὶ στέγαι. 


ἐνταῦθα δισσοὺς εἶδέ τις νεανίας 


265 


βουφορβὸς ἡμῶν, κἀνεχώρησεν πάλιν 


ἄκροισι δακτύλοισι πορθμεύων ἴὔχνος. 


ἔλεξε δ᾽. 


θάσσουσιν οἵδε. 


οὐχ 6 pare ; 


δαίμονές τινες 
θεοσεβὴς δ᾽ ἡμῶν τις ὧν 


> , A \ 4 > > / 
Bee xe χεῖρε καὶ προσεύξατ᾽ εἰσιδών" 


210 


ὦ ποντίας παῖ Λευκοθέας, νεῶν φύλαξ, 


δέσποτα ἸΠαλαῖμον, ἵλεως ἡμῖν γενοῦ, 


tive from the beginning. — ἐπάνελθε: 
for the aphaeresis, see ἃ. 11, 2, ν. 4; 
Η. 83.— viv: 6. 79, n. 4; H. 261 p a. 

258 f. χρόνιοι: the familiar use of 
a pred. adj. instead of an adv., or a 
prep. with its case. See on v. 1284; G. 
138, n. 7; H. 619. --- ἐπεί: equiv. in 
sense to ἀφ᾽ οὗ, referring to χρόνιοι. 
The difficulty in translating this pas- 
sage is chiefly owing to ἥκουσι, which 
is superfluous to the Eng. idiom, cf. v. 
42. We should simply say, “it is a 
long time since the goddess had a 
sacrifice,” or “it is a long time since 
any foreigners have come, as these 
have, to be sacrificed.” The Greek 
manages to express both ideas at 
once. 

261. ὑλοφορβούς : cf. Bods ὑλοφάγοιο 
κρέας Hes. Works ὅ89. --- πόντον : acc. 
_ after εἰς in comp. —eloeBddXAopev: had 
begun to drive in; note the tense. 


262 f. ἦν: instead of ἐστί, by assim- 
ilation to the time of the events 
narrated. — διαρρώξ : ῥηγνύναι. --- ἀγ- 
μός : ἀγνύναι. ---πορφυρευτικαὶ στέγαι : 
a shelter for purple-fishers (πορφυρεῖς, 
moppupevtal), while waiting for their 
nets to fill. The hunters of the valu- 
able murex haunted the remotest 
coasts. The adj. here is used as in 
Πέλοψ ὁ Ταντάλειος V. 1, εὐχαῖσιν 
δεσποσύνοις VY. 499. 

266. Ferrying his track on tip-toe. Cf. 
vs. 956, 1435. 

268. οἵδε: yonder; see on v. 236. 

270 f. Λευκοθέας : pronounced as 
trisyllable with synizesis, see G. 10, 
H. 78, and cf. vs. 190, 196, 207, 280, 
299, 587, 780, ete. — Cf. ‘By Leuco- 
thea’s lovely hands, | And her son 
that rules the strands’ Milton Comus 
875. Leucothea and Palaemon were 
Ino and Melicertes, before they jumped 


78 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ahore per Ν᾿ 


eit οὖν ἐπ᾽ ἀκταῖς θάσσετον ups rope, 
ἢ Νηρέως ἀγάλμαθ᾽, ὃς τὸν oy si 
ἔτικτε πεντήκοντα, Νηρήδων χοῤόν. 

275 ἄλλος δέ τις μάταιος, ἀνομίᾳ θρασύς, 
ἐγέλασεν εὐχαῖς, vavtidous δ᾽ ἐφθαρμένους 
θάσσειν φάβαγγ' ἔφασκε τοῦ νόμου φόβῳ, 
κλύοντας ὡς θύοιμεν ἐνθάδε ἕένους. 
ἔδοξε δ᾽ ἡμῶν εὖ λέγειν τοῖς πλείοσι, 


280 θηρᾶν τε τῇ θεῷ σφάγια τἀπιχώρια. ~~ 


9 lal , ν Ν 4 
Kav τῷδε πέτραν ἅτερος λιπὼν ἕένοιν 


» , , ΣΝ ,΄ 
ΕσΤὴ καρα TE διετίναξ ανὼω KATW 


into the sea and became gods benefi- 
cent to mariners (νεῶν φύλαξ). Eu- 
ripides wrote a tragedy Jno, which 
has been lost. The story is told by 
Ovid Met. iv. 416 ff. 

272-274. εἴτ᾽ ovv: introduces the 
second hypothesis of the god-fearing 
herdsman, ἤ the third. His first con- 
jecture is implied in the vocative form 
(ὦ... Παλαῖμον vs. 270 f.), instead of 
being correlated in const. with what 
follows it. Or then if ye be the twin 
sons of Zeus who sit there at the shore, 
or two darlings of Nereus, etc. The 
stately presence of the Greek youths 
is indirectly brought to view, cf vs. 
304 f., 386 ff., 459 ff., 474. Nereus’ 
progeny, so far as known, were all 
daughters to be sure, but the stock 
was good.—Atookopw: Castor and 
Pollux, fratres Helenae, lucida 
sidera Hor. Carm. i. 3. 2. --- ἀγάλ- 
pad’: ἀγάλματε. --- εὐγενῆ : comely. 

275. Another one of us, a scoffer un- 
scrupulously bold. 

276 f. ἐφθαρμένους : shipwrecked. — 
θάσσειν φάραγγα: for the trans. use, 
see H. 712 Ὁ, and cf. Jon 91, quot. In- 
trod. p. 42. So we say, ‘sit a horse.’ 

279 f. λέγειν: is in the const. of 


indirect discourse, but θηρᾶν is not. 
For the latter inf., a new turn of 
meaning (we resolved) is given to the 
leading verb ἔδοξε. 

281 ff. The herdsman describes an 
attack, witnessed by himself and his 
companions, of the frenzy with which 
Orestes was afflicted through the pur- 
suit of the Furies. Aristotle Poet. 
xvii. remarks on the organic excel- 
lence of the motive here employed by 
the poet, in that the hero’s madness, 
the result of his former tragic experi- 
ences, leads to his capture now. It 
is to be observed that in Euripides 
the Erinyes have from mythological 
become merely psychological beings. 
Their attack on Orestes is nothing 
but a delirium on his part; they are 
visible to no other eyes than his (vs. 
291 f.). 
youth upon his couch is admonished 
by his sister Electra that the gory 
visages and snaky locks, by which he 
is haunted, are but the delusion of a 
sickly brain (ὁρᾷς yap οὐδὲν ὧν δοκεῖς 
σάφ᾽ εἰδέναι Or. 259). This is very dif- 


ferent from Aeschylus, whose Hume- — 


nides are ‘materialized’ to the satis- 
faction of all the senses. 


So in the Orestes, the raving — 


See Weil, — 


ane ee, ee ee re, eae Ν 


i py 


IPHIGENIA AMONG THE TAURIANS. 79 


> 3 3 , 4 ¥ 
κἀνεστέναξεν ὠλένας τρέμων ἄκρας, 


’ ᾿ ͵ὔ Q lal . σ΄ 
μανίαις ἀλαίνων, καὶ βοᾷ κυναγὸς ὡς 


285 Πυλάδη, δέδορκας τήνδε; τήνδε δ᾽ οὐχ ὁρᾷς 


ἽΑιδου δράκαιναν, ὥς με βούλεται κτανεῖν 


ees 7 > a ak , 
δειναῖς ἐχίδναις εἰς εν EDTOMWILEVY) 5 


ἃ δ᾽ > ΄ “ / \ ΄ 
ἢ ὃ ἐκ χιτώνων πῦρ πνέουσα καὶ φόνον 


A 3 4 δ᾽ 3 ’, 3 Ν 
πτεροῖς ἐρέσσει, μητέρ ἀγκάλαις ἐμὴν 


290 ἔχουσα, περὶ τὸν ὄχθον, ὡς ἐπεμβάλῃ. 


¥ lal “ , ~ > ε “A 
οἴμοι, κτενεῖ pe’ ποῖ φύγω;---παρὴν δ᾽ ὁρᾶν 


οὐ ταῦτα μορφῆς σχήματ᾽, ἀλλ᾽ ἠλλάσσετο 


θογγάς τε μόσχων καὶ κυνῶν ὑλάγματα 
igs μοσχ YY 


xa hao ᾿ἘΕρινῦς ἱέναι μυκήματα. 


295 ἡμεῖς δὲ συσταλέντες ὡς θανούμενοι 


Sept Tragédies d’Euripide (Notice 
sur /’ Oreste). 

283 f. ὠλένας τρέμων ἄκρας: guiv- 
ering to his finger-tips ; 1.6. through his 
entire frame, cf. ἐξ ἄκρων σταθμῶν V. 
49.— κυναγὸς dis: the simile suggests 
the sudden apparition of a wild beast, 
that calls forth a loud exclamation 
from the huntsman who first sees it. 

285. From this verse and v. 321 we 
learn how the name of Pylades came to 
be sowell remembered; see vs. 249,493. 

287. Armed against me with a front 
of horrid snakes. ‘The word στόμα was 
applied to the edge of a sword, and 
to the front line of battle (acies). 

288-290. 7: accented because used 
as a demonstrative, see H. 272 b. — 
ἐκ χιτώνων : generally thought to be 
corrupt. If the text is right, we 
have a picture of the Fury with head 
muffled, witch-like, in the folds of 
her garment.—qmrepois ἐρέσσει: cf. 


πτερύγων ἐρετμοῖσιν ἐρεσσόμενοι Aesch. 
ΜΈΣ Ag. 53, remigio alarum Verg. 
Aen. i. 301. The converse of this 


= 


frequent metaphor occurs v. 1346 
(printed after v. 1894), where the 
oarage of a ship is spoken of as 
its plumage.— os ἐπεμβάλῃ: final 
clause. The matricide, in his delir- 
ium, thinks he sees the flying Fury 
threatening to hurl upon him the 
corpse of his mother. 

291-294. There were no such shapes 
to be seen, but he confounded the lowing 
of cattle and the barking of dogs with 
the cries which the Furies are said to 
utter. The rustic is rationalistic, as 
every sort of person is apt to be in 
Euripides. — μορφῆς σχήματα : equiv. 
to μορφώματα, as σχῆμα is very often 
used in forming periphrases. Cf. μορ- 
φῆς σχῆμ᾽ ἔχουσαν ἀγρίας Lon 992, σχῆ- 
μα δόμων (1.6. δῶμα) Alc. 911. --- ἡλ- 
λάσσετο: subjective mid.; he was 
“exchanging” in his own mind, 1.6. 
“confusing.” —ya@ φασι... μυκή- 
para: καὶ τὰ μυκήματα & φασι κτλ. 

295. συσταλέντες κτλ.: huddling to- 
gether, as if each moment were to be our 
last. 


80 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


σιγῇ καθήμεθ᾽. ὃ δὲ χερὶ σπάσας ξίφος, 


μόσχους ὀρούσας εἰς μέσας λέων ὅπως, 


’ ᾽’ὔὕ , 3 , 3 ὩΣ 
παίει σιδήρῳ, λαγόνας εἰς πλευράς θ᾽ ἱείς, 


δοκῶν ᾿Ερινῦς θεὰς ἀμύνεσθαι τάδε, 


900 


ὥσθ᾽ αἱματηρὸν πέλαγος ἐξανθεῖν ἁλός. 


93 lol wn ε A 7 a 2 
κἀν τῷδε πᾶς τις, ὡς Opa βουφόρβια 


oe, \ , 3 3 , 
πίπτοντα καὶ πορθούμεν᾽, ἐξωπλίζετο, 


κόχλους τε φυσῶν συλλέγων τ᾽ ἐγχωρίους" 


\ 9 A Ν. Ν ’ὔ ᾽ὔ 
προς εὐτραφεῖς γὰρ και VEAVLAS ξένους 


90ὅ 


φαύλους μάχεσθαι. βουκόλους ἡγούμεθα. 


πολλοὶ δ᾽ ἐπληρώθημεν ἐν μικρῷ χρόνῳ. 


΄, \ "7 ΄, ε , , 
πίπτει δὲ μανίας πίτυλον ὃ Edvos μεθείς, 


στάζων ἀφρῷ γένειον: ὡς δ᾽ ἐσείδομεν 


, , a so » ΄ 
προυβγου TEDOVTA, TAS AVYP εσχεν TOVOV 


310 βάλλων ἀράσσων. 


297-299. ὅπως : ὡς. --- λαγόνας els 
πλευράς τε: the prep. governs both 
nouns. In poetry, a word common to 
two members of a phrase may be 
placed with the second only, cf ἡδὺς 
οὐδὲ μητρὶ δυσχερής Soph. ΟῚ. 929. — 
ἱείς : sc. σιδηρόν. ----δοκών : imagining. — 
"Epis θεάς : cf. νεανίας ξένους v. 804, 
βουφορβὸς ἀνήρ v. 462. The specific 
term is prefixed as an adj. to the 
generic. — τάδε: thereby; cognate 
accusative. 

300. So that the briny deep bloomed 
forth with gore. For the metaphor, cf. 
ὁρῶμεν ἀνθοῦν πέλαγος Αἰγαῖον νεκροῖς 
Aesch. Ag. 689. --- αἱματηρόν : pred. 
84]. --πέλαγος ἁλός : the periphrasis 
is of common occurrence, cf. ἁλὸς ἐν 
πελάγεσσι Hom. ε 335, ἅλιον πέλαγος 
Andr. 1012. 

301 ff. The herdsmen very natu- 
rally recover their wits the moment 
an attack is made on their cattle. 


ν XN ἴω , 
ATEPOS δὲ τοῖν ἕένοιν 


303. κόχλους : conch-shells ; the prim- 
itive trumpet for maritime tribes, old 
Triton’s ‘wreathéd horn.’ Cf. caeru- 
leum Tritona vocat, conchae- 
que sonanti|inspirare iubet 
Ovid Met. i. 333, followed by a de- 
scription of the shell. 

305. We deemed herdsmen poor hands 
at fighting. 

306. πολλοὶ δ᾽ ἐπληρώθημεν : and 
right well did our ranks fill. πολλοί 
is predicative. 

307. πίτυλον: (fit, (wirvew, mer-), 
commonly plash of oars. Figuratively 
employed in various ways; of mad- 
ness, as here, μαινομένῳ πιτύλῳ πλαγχ- 
θείς Here. Fur. 1189. 

308 f. ἐσείδομεν ... πεσόντα: saw 
him fall. Contemporaneous aor. par- 
ticiple, ον. 829; differently the pres. 
ὁρᾷ πίπτοντα (falling) v. 802. --- 


ἔσχεν πόνον: fell to work; note the 


tense. 


a 


a τ» 
5 —. 
ss : ; 


4 


IPHIGENIA AMONG THE TAURIANS. 


81 


ἀφρόν T ἀπέψη σώματός τ᾽ ἐτημέλει 


4 ᾽ὔ > 7 ε ’, 
πέπλων τε προυκάλυπτεν εὐπήνους ὑφας, 


καραδοκῶν μὲν τἀπιόντα τραύματα, 


φίλον δὲ θεραπείαισιν avop εὐεργετῶν. x 


315 


ἔμφρων δ᾽ ἀνάξας ὁ ἕένος πεσήματος 


ἔγνω κλύδωνα πολεμίων προσκείμενον 


‘\ “~ Y 
Kal τὴν παροῦσαν συμφορὰν αὐτοῖν πέλας, 


= ἕέ ὭΣ, ε A 8 9 πον ΄, 
DILOCE NIELS ουκ QVLELEV TET POLS 


βάλλοντες, ἄλλος ἄλλοθεν προσκείμενοι. 


920 


κυ δὴ \ ὃ Ν , > > , 
ov δὴ TO δεινὸν παρακέλευσμ ηκούσαμεν" 


Πυλάδη, θανούμεθ᾽, ἀλλ᾽ ὅπως θανούμεθα 


κάλλισθ᾽." 


ἕπου μοι, φάσγανον σπάσας χερί." 


ὡς δ᾽ εἴδομεν δίπαλτα πολεμίων ξίφη, 


’ὕ , > 4 , 
φύγῃ λεπαίας ἐξεπίμπλαμεν νάπας. 


325 
ἔβαλλον αὐτούς: 


3 > 3 , Ψ ’ 
ἀλλ᾽, εἰ φύγοι τις, ἅτεροι προσκείμενοι 
3 Ν 4, > 5 ’ 

εἰ δὲ τούσδ᾽ ὠσαΐατο, 


dA Ν lal ε ἴω ¥ ld 
αυσις TO νυν UVTTELKOV 1 P20 oO Ov TET POLs. 


310. βάλλων ἀράσσων : the lively 
effect of such asyndeton at the begin- 
ning of the verse, generally of synony- 
mous words with assonance of end- 
ings, is much liked in the iambic 
trimeter; cf. βοῶν στενάζων Soph. Phil. 
11, χωρεῖ κονίει Aesch. Sept. 60. 

311 f. The imperfect, the proper 
tense of description, reappears. 

312. In the same way Aphrodite 
shields meneas, πρόσθε δέ of πέπλοιο 
φαεινοῦ πτύγμ' ἐκάλυψεν Hom. E 3815. 
— πέπλων εὐπήνους ὑφάς : poetic am- 

plification of πέπλον or πέπλους, cf. 
vs. 1464f. The periphrasis in the 


- Homeric line quoted is similar. 


313. καραδοκῶν: dodging. 
315. ἔμφρων : pred. ; we should use 
another participle, “coming to his 


senses and springing up from where 


he lay.” — πεσήματος : πίπτει v. 307. 
In prose a preposition would have 
been expressed with this genitive. 

320. οὗ Sy: an initial rel. is always 
forcible in Greek. —ro: the article 
shows what an impression the shout 
had made on the mind of the narra- 
tor; cf. vs. 924, 1866. — Then it was 
we heard that terrible cheer. 

321. ὅπως θανούμεθα : elliptical, and 
equiv. to an exhortation, see G. 217, 
n. 4; H. 886. 

323. δίπαλτα : wielded by the pair, 
by the δίπτυχοι νεανίαι. Cf. δικρότοισι 
v. 407, of oat-strokes on both sides of 
the vessel. 

324. ἐξεπίμπλαμεν : see on v. 804. 

325-327. ὠσαίατο : takes its subject 
from αὐτούς. --- τούσδε : the same per- 
sons as ἅτεροι. --- τὸ νῦν ὑπεῖκον : the 


82 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ἀλλ᾽ ἦν ἄπιστον" μυρίων γὰρ ἐκ χερῶν 

3 Ἂ \ A ἊΝ , 3 4 , 

οὐδεὶς TA τῆς θεοῦ θύματ᾽ ηὐτύχει βαλών. 
330 μόλις δέ νιν τόλμῃ μὲν οὐ χειρούμεθα, 


κύκλῳ δὲ περιβαλόντες ἐξεκλέψαμεν 


πέτροισι χειρῶν φάσγαν᾽ * εἰς δὲ γὴν γόνυ a 
ΤἊΝ 


καμάτῳ καθεῖσαν. 
κομίζομέν νιν. 
335 


»Ὰ \ 9» > “A ’ὕ , 
εὔχου δὲ τοιάδ᾽, ὦ veavi, σοι EGov 

, A “Δ ἊΨ ’ , 
σφάγια παρεῖναι: Kav ἀναλίσκῃς ξένους 


ἃ 3 8 Ν ν , 

O ὃ ἐσιδὼν OO OV TAX OS 
3 ᾽ὔὕ ’ \ AS » , 

ες χέρνιβάς TE και σφαγει ΕΠέμιτε σοι. 


πρὸς δ᾽ ἄνακτα τῆσδε γῆς 


Ν Ν ε ἣν > 
τοιούσδε, τὸν σὸν Ἑλλὰς ἀποτίσει φόνον 


. δίκας τίνουσα τῆς ἐν Αὐλίδι σφαγῆς. 


party which but now had given way, 1.6. 
those indicated in εἰ φύγοι τις. νῦν 
like νῦν δή in prose.—ypaccoyv: pl. 
adapted to the sense, not to the gram- 
matical form of its subj.; G. 135, 3; 
H. 609. 

328 f. ἄπιστον ἦν: namely, what 
follows, introduced by yap. which word 
should be omitted in translating. The 
Taurian treats the ill-success in ston- 
ing as a miraculous interposition by 
the goddess, to protect her victims 
from blemish. — ηὐτύχεν βαλών : was 
so lucky as to hit; see on vs. 308 f. 
Usually both verb and participle are 
in the same tense, but not always. 

330-332. The parataxis cannot be 
preserved in English; cf. vs. 116 f. — 
At length, although to be sure (μέν) we 
could not get the better of them by any 
prowess, yet (δέ) we did, etc. — ἐξεκλέ- 
apev: the trick of filching the swords 
out of their hands by stoning is op- 
posed to τόλμῃ. 

334 f. κομίζομεν : hist. pres. —dcoy 
τάχος : ὡς τάχιστα, Const. with what 


follows. — χέρνιβάς τε καὶ σφαγεῖα : 
couplet, see on vs. 243 f. — ἔπεμπε: 
ordered them to be conducted; a true 
imperfect. ἔπεμψε would have been 
said, if the command had been ex- 
ecuted and the captives actually 
brought to the altar. Let 
336 ff. τοιάδε, τοιούσδε: emphatic, 
and more significant than the speaker 
is aware, Iphigenia may well pray 
that victims like Orestes and Pyla, 
des (her kinsmen and deliverers) be 
thrown into her hands; the herds- 
man, however, only means to say that — 
in the loss of such noble specimens — 
of manhood, Hellas will make ample 
amends to Iphigenia for the wrong 
done to her by her countrymen,— — 
The Taurian attributes a sentiment 
of vindictiveness to the priestess ; of. 
vs. 1418f. Euripides’ Iphigenia is in 
fact not entirely above such a feel- 
ing, at least so far as’ the unfortu- 
nate Helen and Menelaus are con- 
cerned; see vs. 354 ff. — dvad loys: ‘ 
despatch. | ; 


IPHIGENIA AMONG THE TAURIANS. 83 


ΧΟΡΟΣ. 


840 θαυμάστ᾽ ἔλεξας τὸν φανένθ᾽, ὅστις ποτὲ 
Ἕλληνος ἐκ γῆς πόντον ἦλθεν ἄξενον. 


ISGITENEIA. 


εἶεν. 


\ Ν ’ὔ i, "6 , 
σὺ μὲν κόμιζε τοὺς ξένους μολών, 


τὰ δ ἐνθάδ᾽ ἡμεῖς οἷα φρουτιούμεθα. 


ΟΣ 
345 


ὦ καρδία Τάλαινα, πρὶν μὲν εἰς ξένους 
γαληνὸς ἦσθα καὶ φιλοὶκτίρμων ἀεί, 


εἰς θοὐμόφυλον ἀναμετρουμένη δάκρυ, 


Ἕλληνας ἄνδρας ἡνίκ᾽ εἰς χέρας λάβοις. 


wn > » > , a) > 4 
νῦν δ᾽ ἐξ ὀνείρων οἷσιν ἠγριώμεθα, 


δοκοῦσ᾽ Ὃρέστην μηκέθ᾽ ἥλιον βλέπειν, 


350 


δύσνουν με λήψεσθ᾽, οἵτινές ποθ᾽ ἥκετε. > 


καὶ τοῦτ᾽ ap ἦν ἀληθές, ἠσθόμην, φίλαι: 


ἘΞ 340 f. At the end of any long ῥῆσις 
in tragedy there is regularly a di- 
stich of the coryphaeus, to prevent 
abruptness of transition, cf. vs. 987 f., 
1420 f. — τὸν φανέντα : sing., because 
the account of the strange behavior 
of Orestes, in his madness, has partic- 
ularly struck the chorus. — ὅστις ποτὲ 
ἦλθεν : whoever he may be that has come ; 
cf. οἵτινές ποθ᾽ ἥκετεν. 350, ἥτις εἶ ποτ᾽, 
ὦ γύναι v. 483, ὅστις ποτ᾽ εἶ v. 628; 

_ ‘Wer sie auch immer sei,’ ‘Wer du 
auch seist’ (Goethe). Exclamations 
of this sort are artistically calculated 
to emphasize the irony of the situa- 

_ tion, since they bring to clearer view 

than ever the speaker’s ignorance of 
important truths known to the spec- 

__ tator. At the same time, they are 

dramatically natural, being prompted 
by a growing interest and quickened 
riosity. 

$42 f. Said to the herdsman, who 


: 
a= 
+ 


withdraws as bidden. — ola: sc. ἔσται, 
if the text is right. 

344 ff. Iphigenia is alone with the 
chorus. For her reflections here, see 
on vs. 56 ff. 

344-346. ὦ καρδία τάλαινα : self- 
apostrophizing; ef. v. 881, τέτλαθι δή, 
κραδίη Hom. v 18, also the passage 
quoted from Aeschylus, on v. 62,— 
yaAnvos: the sympathetic, compas- 
sionate heart is likened to the calm, 
unruffied surface of the waters. — 8ov- 
μόφυλον: τὸ dudpvdoy, abstract for 
concrete, expanded in the foll. line; 
cf. ἀμαθίαν v. 386. 

348 f. ἠγριώμεθα, δοκοῦσα: cf. ἥκομεν 

οὖς σπεύδουσα vs. 578 f., ὃν κατώμοσ᾽ 
ἐμπεδώσομεν V. 790, ἀπαλλάξαιμεν ἂν | 
σώσαιμί re VS.994f. The sing. and pl. 
of the first person are interchanged 
with great freedom in tragedy. 

351. This is a true saying after all, 


as I have come to perceive, dear friends. 


84 ΕΥ̓ΡΙΠΊΔΟΥ ἸΦΙΓΈΝΕΙΑ. 


οἱ δυστυχεῖς γὰρ τοῖσιν» εὐτυχεστέροις 


ἀλλ᾽ οὔτε πνεῦμα Διόθεν ἦλθε πώποτε, 


355 οὐ πορθμίς, ἥτις διὰ πέτρας. Συμπληγάδας 


> \ A , 3 A = 
αὐτοὶ κακῶς πράξαντες ov φρονοῦσιν εὖ. 4 
; 

' 

q 

4 


Ἑλένην peng ἐνθάδ᾽, Ἷ pe aT ONO 


Μενέλεών θ᾽, ἵν᾿ αὐτοὺς ἀντετιβωρήσάμην, 
τὴν ἐνθάδ᾽ Αὖλιν ἀντιθεῖσα τῆς ἐκεῖ, 


οὗ μ᾽ ὥστε μόσχον, Δαναΐδαι Re Pane 


360 expalor, ἱερεὺς δ᾽ ἦν ὃ nets πατήρ. 


οἶμοι (κακῶν γὰρ τῶν τότ᾽ οὐκ ἀμνημονῶ), 


ὅσας γενείου χεῖρας ἐξηκόντισα 


γονάτων τε τοῦ τεκόντος ἐξαρτωμώνη," 


λέγουσα τοιάδ᾽ - ὦ πάτερ, νυμφεύομαι 


- ἦν : the impf. with ἄρα, to express a 
truth tardily recognized; cf. vs. 369, 
1310, GMT. 11, n. 6.— ἠσθόμην : an 
aor. strictly ΠΣ ἐς to the moment 
immediately previous to the time of 
speaking, usually represented by the 
pres. in English. This is a very com- 
mon idiom in dramatic language; see 
GMT. 19, n.5; H. 842. 

352 f. yap: namely. — The text and 
the exact interpretation of these two 
lines are uncertain. In general, the 
maxim touches the jealousy excited 
by superior good fortune and the con- 
sequent gratification felt in witness- 
ing its reversal. 

354f. ἀλλά: yet; elliptical. “Such a 
feeling would be reasonable enough,” 
reflects Iphigenia, ‘‘if the victims 
thrown into my hands were really my 
enemies. But, etc.” —ovre πνεῦμα, ov 
πορθμίς : not a breeze, no bark (4 τι5). 
For the negative particles here, cf. τὲ 
οὐκ... ov vs. 873 f., οὔτε... καί VS. 
591 f., unre... te vs. 1017 f., od... 
od vs. 178 f, 


355-357. ἥτις ἀπήγαγε: assimilated 
in time to ἦλθεν, but in sense nearly 
equiv. to ὥστε ἀπαγαγεῖν, see GMT. 65, 
n. 5. The verb itself is suggestive of 
Athenian legal language, ἐπὶ θανάτῳ 
ἀπαγαγεῖν. --- ἥ μ᾽ ἀπώλεσεν : see on vy. 
8.-- Μενέλεων : forms an anapaest, 
see on v. 270. --- ἵνα κτλ.: for a past a 
tense of the indicative in a final clause, 
G. 216, 3; H. 884. 

359 f. od: the rel. links the descrip- 
tion of the scene to the phrase of 
which it is an expansion (τῆς ἐκεῖ), 
with force and without abruptness; 
see on vs. 320, 1966. --- ὥστε μόσχον : 
δίκαν χιμαίρας Aesch. Ag. 292, see p. 10. 

— Δαναΐδαι: ductores Danaum 
delecti Lucr. i. 86, see p. 11.— 
ἔ σφαΐον: note the tense. —o γεννήσας 
πατήρ: see on y. 499. τὸ 

361-363. Ah me! I cannot forgeé the 
horrors of that hour — how oft did I fling 
my arms wildly forth, to touch his cheek, 
and to the knees of my parent clinging/ Ὁ 
- ὅσας χεῖρας : ὁσάκις τὼ χεῖρε. --- yer 
νείου : gen. of the part aimed at. 


< 


Se. 


a 
K 
a 

, 
E 
a 


IPHIGENIA AMONG THE TAURIANS. 85 


‘Ata “ 


365 νυμφεύματ᾽ αἰσχρὰ πρὸς ode: μητὴρ δ᾽ ἐμὲ 


, a 3 A , wn 
σέθεν κατακτείνοντος Apyevat TE νυν 


ε A ε ΄ yt Ὧν a adie δὰ an 
υμνουσιν υμεναιοισιν, QUVAELTQAL O€ παν 


μέλαθρον: ἡμεῖς δ᾽ ὀλλύμεσθα πρὸς σέθεν. 


Αιδης ᾿Αχιλλεὺς ἦν ap’, οὐχ ὁ Πηλέως, 


ν 3, 
370 ὅν μοι προτείνας πόσιν ἐν ἁρμάτων ὄχοις 


3 ε Ν , 3 ’ 4 
εἰς αἱματηρὸν γάμον. ἐπόρθμευσας δόλῳ. --- 


ἐγὼ δὲ λέπτῶν ὄμμα διὰ καλυμμάτων 


¥ > 3 4 5 5 > 4 ~ 
EXOUC , ἀδελφόν T οὐκ ἀνειλόμην χεροῖν, 


ἃ A ¥ > ’ ’ὔ 
ὃς νῦν ὁλωλεν, οὐ κασιγνήτῃ στόμα 


364-371. Observe the repetitions 
and alliterations in this passage of 
contrasts. 

366-368. Cf. Pacuvius’ imitation : 
hymenaetim fremunt | aequa- 
les, aula résonit crepitu mu- 
sico (Dulorestes Frag. i.).— viv: at 
this moment; emphatic by its position 
at the end of the verse. — αὐλεῖται: 
rings with flutes; passive in Greek; 
see H. 819, and cf. θυηπολεῖται δ᾽ ἄστυ 
μάντεων ὕπο Heracl. 401. 

369-371. Hades, it seems, not the son 
of Peleus, was the Achilles whom thou 
didst hold out to me as husband, and, 
with chariots, to nuptials of murder didst 
transport me treacherously. ‘The ironi- 
cal fancy, ‘bride of Death,’ is fami- 
liar; cf. “Aidns νιν ὡς ἔοικε vuupedoer 
τάχα Iph. Aul. 461, οὔτ᾽ ἐπινύμφειός 
πώ we Tis ὕμνος ὕμνησεν, ἀλλ᾽ ᾿Αχέροντι 
νυμφεύσω Soph. Ant. 810. --- ἐν ἁρμα. 


. τῶν ὄχοις : cf. ἱππείοιϑ ἐν δίφροισι ν. 214. 


In both passages the reminiscence 
is prompted by the contrast between 
the show and the reality. For the 
periphrasis ἁρμάτων ὄχοι, cf. μορφῆς 
σχήματα Vv. 292, πέλαγος ἁλός v. 800, 
πέπλων ὑφάς v. 312. 


816 συνῆψ᾽ ὑπ᾽ αἰδοῦς, ὡς ἰοῦσ᾽ εἰς Πηλέως 


372-379. The words addressed to 
the father are at an end. Iphigenia 
remembers the hour of her parting 
from the family at Argos. The pas- 
sage is very Euripidean and very mod- 
ern, and it is beautifully expressed. 

372-375. ἐγὼ δὲ κτλ.: the reminis- 
cence here is suggested by the anti- 
thesis of ἐπόρθμευσας δόλῳ. “ Such was 
my,father’s cruel deceit, but J all un- 
suspecting, etc.” ---λεπτών.... ἔχουσα: 
looking through the gauzy veil; i.e. not 
drawing it aside, so as to fondle the 
infant Orestes, and kiss her sister 
Electra, but retaining it before her 
face to hide her blushes (ὑπ᾽ αἰδοῦς). 
Iphigenia comes from her apartments, 
to start on her journey, wearing the 
bridal veil; cf. οὐκέτ᾽ ἐκ καλυμμάτων | 
ἔσται δεδορκὼς νεογάμου νύμφης δίκην 
Aesch. Ag. 1178. — ὄμμα ἔχουσα : 
equiv. to βλέπουσα, and like the Eng. 
‘keep’ an eye.—aSeAdov κτλ.: see 
vs. 231 ff. —ré οὐκ : instead of οὔτε, in 
order to leave ἀδελφόν at the bhegin- 
ning of the clause, and likewise te 
join the simple neg. particle directly 
to the verb, for the sake of emphasis. 


’ Similarly, od in v. 374 is more forcible 


80 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


μέλαθρα. 


εἰσαῦθις, ὡς ἡξουσ᾽ ἐς Ἄργος αὖ πάλιν. 
ὦ τλῆμον, εἰ τέθνηκας, ἐξ οἵων. καλῶν 


πολλὰ δ᾽ ἀπεθέμην ἀσπάσματα 


ἔρρεις, "Ὀρέστα, καὶ πατρὸς ζήλωμάτων. 


880 τὰ τῆς θεοῦ δὲ μέμφομαι σοφίσματα, 
ig ἀραῳ fe ἤν τις ἅψηται φόνου, 
ἢ καὶ λοχείας ἢ νεκροῦ σίγῃ Xspow, 


x βωμῶν ἀπείργει, μυσαρὸν ὡς ἡγουμένη, 
αὐτὴ δὲ θυσίαις ἤδεταὶ βροτοκτόνοϊς. Χ. 


385 οὐκ ἔσθ᾽ ὅπως ἂν ἔτεκεν ἡ Διὸς δάμαρ 


5 ‘4 
Λητὼ τοσαύτην ἀμαθίαν. 


| ees. Ν > 
έγω μεν ουν 


Ἂς ’ὔ tas) ε ’ 
τὰ Ταντάλου θεοῖσιν ἑστιάματα 


than οὔτε would have been; cf. v. 355. 
- κασιγνήτῃ: see vs. 912 ff. — ὑπ᾽ 
alSovs: construe with all that pre- 
cedes in the sentence. 

376 f. πολλὰ δὲ κτλ. : but many fond 
caresses I laid up for by-and-by, think- 
ing that I should come to Argos yet 
again. — ὡς ἥξουσα: like ὡς ἰοῦσα v. 
375. ὡς brings to view the deception 
that was put upon her. Note the sig- 
matism in these lines, and see on v. 765. 

378 f. The apostrophe follows nat- 
τ urally upon the thought és “Apyos αὖ 
πάλιν, and recalls the speaker once 
more to her present situation, and to 
her wonted attitude of humane senti- 
ment, and loathing for an unworthy 
office. — ἐξ οἵων... ζηλωμάτων : from 
what splendor and envied state of our 
father, Orestes, art thou gone! Iphige- 
nia is ignorant of the fate of Aga- 
memnon; see v. 549. -- πατρός : const. 
with both substantives; see on v. 298. 

380. σοφίσματα : i.e. inconsistency, 
explained by vs. 381-384, and desig- 
nated as ἀμαθία v. 586. 

381 { ἥτις : a deity who. For the 
indef. rel. characterizing a def. ante- 


, 


cedent, see H. 699 a.— βροτῶν μέν: 
“where mortals are concerned;” note 
the strength of the antithesis with 
αὐτὴ δέν. 584. --- ἢ kal: or even. 

383. ὡς: there is a touch of sar- 
casm in the particle: “the goddess 


would have us believe that she deems — 


such a person polluted.” 

385 f. οὐκ... ἀμαθίαν : it is impos- 
sible that Leto, the spouse of Zeus, should 
have given birth to a being of such un- 
wisdom. 

386-388. Iphigenia takes the story 
of Tantalus’ banquet to the gods, and 
the boiling of his child Pelops, as her 
illustration of the shocking and in- 
credible in theology, because it is 
a part of the family history. Pindar 
Ol. i. 82 rejects the same tale as un- 
worthy of belief, saying ἐμοὶ δ᾽ ἄπορα 


γαστρίμαργον μακάρων τιν᾽ εἰπεῖν: ef. 


v. 9591.---ὠπιγὼ μὲν οὖν: nay, for my 
part, I. While μέν enforces the pers. 


pron., as often, it also belongs to the 
clause, and serves with δέ (v. 389) to 


offset the two parallel examples — the 
preparatory one, τὰ Ταντάλου κτλ., 
and the present illustration in the 


é dst 5 ‘s 
> ss or 


ci 


IPHIGENIA AMONG THE TAURIANS. 87 


¥ ὔ N ε A A 
ἄπιστα κρίνω, παιδὸς ἡσθῆναι Bopa, 


Ἁ 3 > 7» > οἷ ¥ > ’ 
τοὺς δ᾽ ἐνθάδ᾽, αὐτοὺς ὄντας. ἀνθρωποκτόνους, 


390 eis τὴν θεὸν τὸ φαῦλον ἀναφέρειν δοκῶ" 


δέ \ 4 ὃ ΄ 5 ΄ 
ουόοενα yop OLULAL OALMOV@V EWAL KAKOV. 


ΧΟΡΟΣ. 


’ ’ 4 ra 
κυάνεαι κυάνεαι σύνοδοι θαλάσσας, 


στροφὴ α΄ 


ee aad. > ε ΄ 5 ΄, 
ἵν οἷστρος ὁ ποτώμενος ᾿Αργόθεν 


896 ἀξενον ἐπ᾽ οἶδμα διεπέρασε πόρτιν 


᾿Ασιητίδα γαῖαν Ἑὐρώπας διαμείψας. 


" 4 9 » A » 4 
τίνες TOT Apa τὸν εὔυδρον δονακόχλοα 


case of the Taurians. —Qeotow ἑστιά- 
para: dat. with noun, instead of an 
obj. gen.; see H. 765 a.— ἡσθῆναι: 
takes its subject from θεοῖσιν. 

389 ff. ro φαῦλον ἀναφέρειν : attrib- 
ute their vileness. The reflection here 
comes very near the truth of perceiv- 
ing that the Taurian and Grecian 
goddesses are not identical, or, in 
other words, that supernatural beings 
are gifted with purely subjective at- 
tributes. There is nothing like the 
study of comparative mythology to 
clear away superstition. 


IV. First Srasimon, vs. 392-455. 


Choral ode with dance, while the 
priestess remains upon the scene busy- 
ing herself at the altar. ‘The burden 
of the song is a wondering inquiry 
from what part of Hellas the victors 
have come (first strophe), and what 
‘may have been the purpose of their 


τῷ journey (first antistrophe); a 


glance in fancy at the strange and 
-yenturesome voyage (second stro- 


_ phe), and regretful personal reflec- 
_ tions stirred by the event (second 


antistrophe). For the metre, see 


Introd. p. 47. 


(First Strophe.) 


393. By the “ Dark blue straits of 
the sea,” the Thracian Bosphorus is 
meant, here apostrophized as the pass 
from Europe to Asia, and poetically 
distinguished by an allusion to the 
legend of Io. 

394 ff. Transformed into a heifer 
(répris), and stung by a pursuing gad- 
fly (olerpos), Io started on her wander- « 
ings from her home in Argos, and the 
Strait owed its name to her crossing, 
according to a popular etymology. Cf. 
ἔσται δὲ θνητοῖς εἰσαεὶ λόγος μέγας τῆς 
σῆς πορείας, Βόσπορος δ᾽ ἐπώνυμος | κε- 
κλήσεται. λιποῦσα δ᾽ Εὐρώπης πέδον, | 
ἤπειρον ἥξεις ᾿Ασιάδα. Aesch. Pr. 782. 

395. διεπέρασε πόρτιν : the verb is 
transitive, and the phrase suggestive 
of the word Βόσπορος (cf. Ox-ford). 

396. The const. is different from v. 
135, and like saepe Lucretilem | 
mutat Lyaeo Faunus Hor. Carm. 
1.17: 

999-401. τὸν εὔυδρον δονακόχλοα 


88 ΕΥ̓ΡΙΠΔΟΥ I®ITENEIA. 


400 λιπόντες Εὐρώταν 


ae A aes Ν , 

ἢ ῥεύματα σεμνὰ Διρκας 

» Ε » 5 ¥ , 
ἔβασαν ἔβασαν ἄμικτον αἶαν, ἔνθα Kovpa 


’ 4, 
Δίᾳ τέγγει 


405 βωμοὺς καὶ περικίονας ναοὺς αἷμα βρότειον; 


ἀντιστροφὴ α΄. 


εχ ε , 3 Ψ ὃ ’ 4 
7) ῥοθίοις εἰλατίνας ἰκροτοισυι κῶτπας ‘ 


» IN 4 , 
ἔπλευσαν ἐπὶ TOVTLA κύματα 


’ » ’ ’ > ¥ 
410 vatov oyna λινοπόροισί T αὔραις 


φιλόπλουτον ἅμιλλαν αὔξοντες μελάθροισιν; 


Ἐμὐρώταν : cf. τὸν ὑδρόεντα δόνακι χλω- 
ρὸν Εὐρώταν Hel. 549. --- ῥεύματα σεμνὰ 
(revered) Δίρκας : cf. ἢ Πειρήνας ὕδρευ- 
σομένα | πρόπολος σεμνῶν ὕδάτων 
ἔσομαι T'road. 205. — The Eurotas and 
Dirce respectively designate Sparta 
and Thebes, as often in poetry the 
celebrated stream or fount is named 
instead of the city itself (‘Pirene’ for 
‘Corinth’ in the above quotation from 
the Troades). 

402 ff. €Bacav ἔβασαν : this sort 
of repetition became a mannerism 
with Euripides, cf vs. 138, 152, 392, 
864, 895: ridiculed Ar. Ran. 13852 ff. 


(see the quotation on vs. 843 f.).— _ 


ἄμικτον αἷαν : the unapproachable land, 
the same thought as ἄξενον οἶδμα (in- 
hospitable billow); cf. φεύγειν ἄμικτον 
ἄνδρα (Polyphemus) Cycl. 429.—Kovpa 
Aig: in honor of the Heavenly Maid, 
ῖ.6. the daughter of Zeus, Artemis. — 
Notice the quantities in the adj Δῖος 
and the noun Aids, Ala. — περικίονας 
ναούς: cf. εὐστύλων ναῶν Vv. 128, ἀμφι- 
κίονας ναοὖς Soph. Ant. 285, and ob- 
serve the poetic plural (pluralis ma- 
iestatis). 


(First Antistrophe.) 


407-411. 7 ... μελάθροισιν: the 


gist of the question lies in the closing 
words (φιλόπλουτον κτλ.) ; all the rest 
is graphic and introductory. The 
Greek order is natural and effective, 
but can hardly be preserved in Eng- 
lish.— Was it to heap up fondly-vying 
riches for their homes, that they, with 
double-plashing stroke of oars of fir, 
and canvas-wafting breezes, sailed their 
ocean-car over the waves of the deep? 
— ῥοθίοις : ῥόθιον “plash,” “ripple”; 
cf. vs. 425, 1138, 1387.— δικρότοισι : 
κροτεῖν. See on δίπαλτα Υ. 323.— ' 
γάιον ὄχημα: periphrasis for ναῦν 
cf. ναυτίλων ὀχήματα Aesch. Pr. 468. 
— φιλόπλουτον ἅμιλλαν κτλ.: po- 
etic phrasing, perfectly intelligible, 
though not amenable to the ordi- 
nary processes of translation. Logi- 
cally, it is the ἁμιλλώμενοι themselves 
who are φιλόπλουτοι, but here the 
epith. is transferred to the emula- 
tion which they exhibit. ini 
the emulation, instead of the wealth, — 
is said to be increased. For tus: ‘* 


eae 


modern, μον φύλα “trying to ine 
crease’; thus even the pres. partici- 
ple may express purpose, see H. = ; 
cf. v. 1440, 


IPHIGENIA AMONG THE 


TAURIANS. 89 


’ Ν > \ 5 / > 5 Ν Ζ “Ὁ 
φίλα yap ἐλπὶς ἐγένετ᾽ ἐπὶ πήμασι βροτῶν 


415 ἄπληστος ἀνθρώποις, 


ὄλβου βάρος οἱ φέρονται 


πλάνητες ἐπ᾽ οἶδμα πόλεις τε βαρβάρους περῶντες 


a , 
KEW δόξᾳ. 


420 γνώμα δ᾽ οἷς μὲν ἄκαιρος ὄλβου, τοῖς δ᾽ εἰς μέσον ἥκει. 


πῶς πέτρας τὰς συνδρομάδας 
ὦ ρ P μ ) 


στροφὴ β. 


πῶς Φινεΐδας ἀύπνους 


3 Ν 5 ’ > σ 5 Ν 
QKTAaS ἐπέρασαν παρ αλιον αἰγιαλὸν 


414 f. φίλα: fond; adapted to φι- 
λόπλουτον. --- ἐγένετ᾽ ἐπὶ πήμασι: re- 
sults in troubles; cf. ‘come to grief.’ 
The aor. is gnomic; α. 208,2; H. 840. 
- ἄπληστος ἀνθρώποις : insatiate as it 
isin man. Dat. οἵ reference; G. 184, 
5; H. 771. Both ἀνθρώποις and βρο- 
τῶν are meant to emphasize the gen- 
eral (universal) character of the state- 
ment. 

416. ὄλβου βάρος : for the position 
before the relative, cf vs. 72, 213. 
- φέρονται: seek to win. Obs. the 
mid., and the pres. of attempted ac- 
tion. 

417 f. As wanderers over the sea, 
and crossing to foreign states, with ex- 
pectation ναΐῃ. ---- πλάνητες : adj. with 
the force of a participle.—kKewa: κενῇ. 
xewds Ionic for κενός, as ξεῖνος for 
ξένος. 

419 f. γνώμα κτλ.: some men have 
thoughts untimely as to wealth, to others 
they _moderately come.— The strophe 
ends with a sententious eulogy of 
moderation in the quest of gain. — 
ἄκαιρος : here with a meaning similar 
tO ἄπληστος v. 415, as the antitheton 
eis μέσον shows. — els μέσον ἥκει: 
equiv. to μέσως (μετρίως) ἔχει. For 
he peepers: use of ἥκειν, cf. καλῶς- 
μὲν αὐτοῖς κατθανεῖν ἧ κον (acc, abso- 


lute) βίου Alc. 291; very common in 
Hat., e.g. τῆς πόλιος εὖ ἡκούσης i. 30. — 
οἷς μὲν... τοῖς δέ: equiv. to τοῖς μὲν 

. τοῖς δέ: ἃ rare use of the rel.; see 
H. 654 d. An example occurs in the 
celebrated epigram of Phocylides on 
the people of Leros: 
Sew. Λέριοι κακοί " 


καὶ τόδε Φωκυλί- 
οὐχ ὃ μέν, ὃς δ᾽ 
οὔ" | πάντες πλὴν Προκλέους - καὶ Προ- - 
κλέης Λέριος. (‘All except Hermann 
—and Hermann’s a German.’) 


(Second Strophe.) 


421-423. πῶς... ἐπέρασαν: as 
they entered the Euxine, the adven- 
turers had to run the gauntlet, first 
of the Symplegades and then of the 
stormy shores of Salmydessus, the 
realm of King Phineus; cf παρὰ δὲ 
κυανέων σπιλάδων διδύμας ἁλὸς | ἀκταὶ 
Βοσπορίαι if ὁ Θρῃκῶν ἄξενος | Σαλμυ- 
δησσός Soph. Ant. 906. --- ἀύπνους : the 
restless waters of this region Were 
in bad repute with mariners; hence 
Aeschylus calls the coast ‘stepmother 
of ships,’ τραχεῖα πόντου Σαλμυδησσία 
γνάθος, | éxOpdtevos ναύταισι, μητρυιὰ 
νεῶν Pr. 726; cf. visam gementis 
litora Bospori Hor. Carm. ii. 20. 
14, insanientem...Bosporum 
ib. ili. 4. 30. 


424 1. map ἅλιον... δραμόντες ; 


90 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


425 ἐπ᾽ ᾿Αμφιτρίτας ῥοθίῳ δραμόντες, 
ὅπου πεντήκοντα κορᾶν 
᾽7 ἊΝ ‘\ 
Νηρήδων ποσὶ χοροὶ 
/ 3 ’ 
μέλπουσιν ἐγκυκλίοις, 


450 


συριζόντων κατὰ πρύμναν 


> ’ὕ , 
εὐναίων πηδαλίων 
αὔραισιν νοτίαις 


Ἃ , , 
ἢ πνεύμασι Ζεφύρου, 


435 


λευκὰν ἀκτάν, ᾿Αχιλῆος 
, ’ »» Ν ,ὔ 
δρόμους: καλλισταδίους, ἄξεινον κατὰ πόντον; 


by the sea-beach coursing, on Amplhitrite’s 
rippling tide.—The Greek navigator 
hugged the shore.— Amphitrite (for 


the etym. cf. ‘ Triton’) is the female’ 


personification of the great deep; cf. 
ἐν πέλαγει μετὰ κύμασιν ᾿Αμφιτρίτης 
Hom. γ 91. 

426-429. ποσὶν ἐγκυκλίοις : to the 
tread of circling feet; 1.6. in κύκλιοι 
χοροί, ‘ring-around’ dances, 
popular with the mermaidens. Cf. πα- 
pad Te λευκοφαῆ ψάμαθον | εἱλισσόμεναι 
κύκλια | πεντήκοντα κόραι | Νηρέως γά- 
μους ἐχόρευσαν Iph. Aul. 1054.— μέλ- 
πουσιν: implies dancing, together 
with the singing; cf μετὰ μελπομένῃ- 
σιν ἐν xop@ Hom. Π 182, νύμφαι dpe- 
στιᾶδες λιγύμολποι] φοιτῶσαι πύκα ποσ- 
σὶν ἐπὶ κρήνῃ μελανύδρῳ] μέλπονται 
Hom. Hy. xix. 19. 

430. Cf λινοπόροισί τ᾽ αὔραις v. 410. 
—év: ’mid. 

431-434. Whilst the well-shipped rud- 
der creaks abaft, by stress of breezes 
Srom the south, or obreathings of 
Zephyrus. SSW. winds were about 
what was needed for the main 


> ,ὔ “A 
ἐν πλησιστίοισι πνοαῖς, 


Ν 9,9 hae > 
τὰν πολυόρνιθον ἐπ᾽ atav, 


ever | 


course. —evvaiwy: adjective, proba- 
bly to indicate the ‘sockets’ (ebvat) 
in which the steering-oars (πηδάλια) 
rested. 

435 ff. Leucé, now Phidonisi or 
‘Snake Island,’ an uninhabited islet 
near the mouth of the Danube, fre- 
quented by sea-birds, was known as 
the Isle of Achilles, or Race-course 
of Achilles, although according to 
some accounts the δρόμοι ᾿Αχιλλέως 
lay on the mainland. It contained a 
shrine of the hero, and was haunted 
by his ghost. Cf. Αἴας Σαλαμῖν᾽ ἔχει 
πατρῴαν" | ev δ᾽ Εὐξείνῳ πελάγει φαεν- 
νὰν ᾿Αχιλεὺς νᾶσον Pind. Nem. iv. 79, 
τὸν φίλτατόν σοι παῖδ᾽ ἐμοί τ᾽ ᾿Αχιλλέα 
| ὄψει δόμους ναίοντα νησιωτικοὺς | Λευ- 
κὴν Kar ἀκτὴν ἐντὸς Ἐὐξείνου πόρου 
Androm. 1200. --- ἐπ᾿ atay: const. with — 


ἐπέρασαν v. 424.—The style of this _ 


strophe, one long sentence, with shif 
ing and suspended rhetorical struc-— 
ture, and an ending suggestive: of 


is happily suited to the subject- 
matter, 


IPHIGENIA AMONG THE TAURIANS. 


¥s/)D> 5 Aw 4, 
εἴθ᾽ εὐχαῖσιν δεσποσύνοις 


Λήδας Ἑλένα φίλα παῖς 


440 


91 


ἀντιστροφὴ β΄. 


ἐλθοῦσα τύχοι τὰν Τρῳάδα λιποῦσα πόλιν, 


9” 3 > \ ’ ’ ε \ 
ἵν᾿ ἀμφὶ χαίτᾳ δρόσον αἱματηρὰν 


εἱλιχθεῖσα λαιμοτόμῳ 


445 


4 \ , 
δεσποίνας χερὶ θάνοι 


A »-“ 5 » 4 
ποινὰς δοῦσ᾽ ἀντιπάλους. 


ἡδιστ᾽ ἂν τήνδ᾽ ἀγγελίαν 
δεξαίμεσθ᾽, Ἑλλάδος ἐκ γᾶς 


πλωτήρων εἴ τις ἔβα, 


450 δουλείας ἐμέθεν 


δειλαίας παυσίπονὸς" 


καὶ γὰρ ὀνείροισι συνείην 


(Second Antistrophe. ) 

439. evxatow δεσποσύνοις : in ac- 
cordance with our mistress’ prayer; Vs. 
354 ff. The adj. is equiv. to a posses- 
sive gen.; cf. moppupevtixal στέγαι 
v. 263. 

441. ἐλθοῦσα τύχοι λιποῦσα: 1.6. 
ἔλθοι λιποῦσα. The first participle is 
contemporaneous with the verb, see 
G. 204, n. 2; H. 856 b. The chorus 
knows nothing of the issue of the 
Trojan war. 

442 f. ἀμφὶ xalra . . . εἱλιχθεῖσα : 
her hair with deadly coronet of lustral 
waters wound ; cf. v. 622. An ironical 
metaphor (éAlocew for στεφανοῦν), 
made clear as such by αἱματηράν, the 
crowning of the hair being usually a 
ceremony of festal joy. — δρόσον εἷ- 
λιχθεῖσα : corresponds to an act. const. 
with two accusatives, ἑλίσσω (ἀμφιέν- 
νυμι) αὐτὴν δρόσον, the acc. of the 
thing being retained when the verb 
becomes passive. H. 724 a. 

444-446. λαιμοτόμῳ χερί: a very 
free representation of Iphigenia’s 


function as priestess; but Helen’s case 
would be a special one, and the chorus 
takes the will for the deed in imagin- 
ing it.—S8eomolvas χερὶ θάνοι: note 
the close similarity to the antistrophic 
line Νηρηδων ποσὶ χοροί (v. 427), and 
see p. 49, Rem. on ἔλεγον. --- ἀντιπά- 
λους : defined by v. 358. 

447 ff. Transition to wishes of a 
pleasanter sort, dear to the hearts 
of the captive women themselves. — 
ἥδιστα : most gladly of all things. 

449-451. Had but some mariner come, 
to end the sorrows of my poor servitude. 
- εἴ tis Bea: defines τήνδ᾽ ἀγγελίαν ν. 
447, like ὅτι τις ἔβη, but the condi- 
tional form adds pathos; see p. 18. 
For the mixed const. see GMT. 54, 
1 (a).— δειλαίας : const. with ἐμέθεν 
(ἐμοῦ). Note the assonance (δουλείας 
... δειλαίας) of words at the begin- 
ning of successive lines; cf. δεσποίνας 

. ποίνας vs. 445 f. 

452 ff. Though it be only in dreams, 
would that, etc. — καί : even; const. with 
ὀνείροισι. 


92 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


δόμοις πόλει τε πατρῴᾳ, 
A Ψ > , Ν. ’ aN 
455 τερπνῶν ὕμνων ἀπολαύειν, κοινὰν χάριν ολβῳ. 


a" 


nh Ot 


ἀλλ᾽ οἵδε χέρας δεσμοῖς δίδυμοι 
συνερεισθέντες χωροῦσι, νέον 
πρόσφαγμα θεᾶς - σιγᾶτε, φίλαι. 
τὰ γὰρ Ἑλλήνων ἀκροθίνια δὴ 


460 ναοῖσι πέλας τάδε βαΐνει" 
οὐδ᾽ ἀγγελίας ψευδεῖς ἔλακεν 
Ν 3 ’ὕ 
βουφορβὸς ἀνήρ. 
> , > » Qs 5 Ψ 
ὦ πότνι᾽, εἴ σοι τάδ᾽ ἀρεσκόντως 
πόλις Hoe τελεῖ, δέξαι θυσίας, 
a ε 3 Fema: 
465 as O παρ MW 


, - ε 4 > , 
νόμος οὐχ ὁσίας ἀναφαίνει. | 


5 
Eley " 


τὰ τῆς θεοῦ μὲν πρῶτον ὡς καλῶς ἔχῃ 


455. τερπνῶν ὕμνων : glad song. To 
Greeks a characteristic privilege of a 
blest state of existence; cf μέλπουσ᾽ 
Ἥραν vs. 221, 11438 ff. —daroAavew: 
_ denotes purpose or result. — χάριν: 
in apposition to the preceding clause. 
ὄλβῳ: ὄλβος includes all the means 
and conditions of happiness. 


V. Seconp Eprrsopi0n, vs. 456-1088. 


456-466. Two anapaestic systems 
of the coryphaeus, accompanying the 
entrance of Orestes and Pylades as 
prisoners, manacled and guarded by 
attendants. 

456-462. Addressed to the cho- 
reutae. 

. 456. οἵδε: 
on v. 236. 
458. σιγᾶτε: 


cf. τάδε v. 460, and see 


the hush appropriate 


IPITENEIA. 


to the impending rite, and to feelings 
of mingled awe and compassion. 

459. Cf. Τύριον οἶδμα λιποῦσ᾽ ἔβαν | 
ἀκροθίνια Λοξίᾳ | Φοινίσσας ἀπὸ νάσου᾽ 
Phoen. 202 (said by the captive Phoe- 
nician women of themselves).— δή : 
joined to ἀκροθίνια, as to a sup. adj., — 
for emphasis (choice offerings truly). 
The whole expression is confirmatory 
of the herdsman’s description; see on 
v. 272. . 
461. ἔλακεν : λάσκειν is one of the : 
poetic synonyms of λέγειν. . ὧν 

463-466. Addressed to the goddess, a | 
τ ἀρεσκόντως: acceptably. —rap ἡμῖν ie 
1.€. παρὰ τοῖς Ἕλλησιν: cont th 


clares ahi Ὡς ν ε- 
467. elev: an ‘tenes not in- 


~ 


cluded in the verse indicates a pause > 


IPHIGENIA AMONG THE TAURIANS. 93 


ὑφ, ἀν 
φροντιστέον μοι. 


ἔλα. τῶν ἐέ ; 
μέθετε τῶν ξένων χέρας, 


8 » ε \ 43 > , 
ως OVTES ιέεροι ΜΉΚΕΙ WOL δέσμιοι. 


470 


a) ees / > ’, 
ναοῦ δ᾽ ἔσω στείχοντες εὐτρεπίζετε 


a Se OS a A \ / 
ἃ χρὴ πὶ τοῖς παροῦσι Kal νομίζεται. 


φεῦ: 


τίς ἄρα μήτηρ ἡ τεκοῦσ᾽ ὑμᾶς ποτὲ 
’΄ 3 > , > > la , 
πατήρ T ἀδελφή τ᾽, εἰ yeyOou τυγχάνει; 


οἵων στερεῖσα διπτύχων νεανιῶν 


415 ἀνάδελφος ἔσται. 


\ , , 509. ¢ 

Tas τύχας τίς οἷὸ ὅτῳ 
70» » ’ὕ Ἂς A “3 - 
τοιαίδ᾽ ἔσονται; πάντα γὰρ τὰ τῶν θεῶν 


εἰς ἀφανὲς ἕρπει, κοὐδὲν οἷδ᾽ οὐδεὶς σαφῶς’ 


¢€ Ν Γ 4 ’ > 5 Ν ’ 
ἡ γὰρ τύχη παρήγαγ᾽ εἰς τὸ δυσμαθές. 
> 2M 4 a Ὁ > > , 7 
πόθεν ποθ᾽ ἡκετ᾽, ὦ ταλαίπωροι ἕένοι; 


480 


ἕ Ν “Ὁ \ , > > , , 
ὡς διὰ μακρου μεν τήνὸ ἐπλεύσατε χθόνα, 


Ν δ᾽ 5 b » ͵ὕὔ » Ν , 
μακρὸν ἀπ᾽ οἴκων χρόνον ἔσεσθε δὴ κάτω. 


in the delivery; cf. vs. 472, 627, 742, 
1157. — πρῶτον : 1.6. before question- 
ing the prisoners, as she presently 
means to do. No particles correlative 
to μέν and πρῶτον are expressed. 
468-471. μέθετε κτλ.: said to the 
servants of the temple who have led 
in the victims. 
469. The dramatic and artistic mo- 
tives happily coincide: the victims 
_ of a god must approach his altar with- 
out constraint (cf. on v. 328), while 
for the purposes of the coming scene 
the persons need to be free-handed, 
ο΄ and Greeks alone with Greeks. 
Ἡ 472 ff. Said to the prisoners after 
the guards have withdrawn. — Iphi- 
᾿ς genia takes the youths for brothers ; 


12-475. dpa: for ἄρα, as freq. in 
sedy. The inferential particle re- 
-elliptically to φεῦ, and is like 


ἀδελφὴ xTA.: Iphigenia dwells on the 
sisterly relation, because her mind is 
occupied with thoughts of her brother. 
— γεγῶσα: equiv. to οὖσα. ---- οἵων : ex- 
clamatory : bereft of what a pair! 

475 ff. tds τύχας... ἔσονται: τίς 
οἷδεν ᾧτινι τοιαίδε τύχαι ἔσονται; 1.6. 
“Who knows whether such a fate may 
not be his own lot?” The anticipa- 
tion (prolepsis, H. 878) and the arti- 
cle rds have a generalizing effect, 
“ Who knows the ways of Fortune?” 

476-478. πάντα κτλ.: cf. ‘God 
moves in a mysterious way, | His 
wonders to perform.’— ἕρπει : ἕρπειν 
is one of the poetic synonyms of ἰέναι. 
— ἡ γὰρ τύχη KTA.: for chance mis- 
leads and baffles human understanding. 
-- παρήγαγε: gnomic aorist. 

480f. ws: causal, as in v. 487.— διὰ 
μακροῦ μὲν... μακρὸν δὲ χρόνον: 
anaphora should invariably be pre- 
served in translating; here the main 


94 ΕΥ̓ΡΙΠΊΔΟΥ I@ITENEIA. 


OPESTHS. 


, a 9 9 4 5 Ἁ ~ , -» Ὁ 
τι ταῦτ ὀδύρει, κἀπὶ τοῖς μέλλουσι νῷν 


ἴω. A ν Ss 3 > , i 
κακοῖσι λυπεῖς, τις εἰ TOT, ὦ γύναι; 


οὔτοι νομίζω σοφόν, ὃς ἂν μέλλων θανεῖν 


485 


οἴκτῳ TO δεῖμα τοὐλέθρου νικᾶν θέλῃ, 
t t 


> 4 ν > Ν »” > > , 
οὐχ ὅστις Αιδην ἐγγὺς ὄντ᾽ οἰκτίζεται 


, » 
σωτηρίας ανελπις " 


as δύ᾽ ἐξ ἑνὸς 


\ , 4 .ν 5 , 
κακὼ συνάπτει, μωρίαν T ὀφλισκάνει 


, » ε ΄ Ὡς ΄ 2 9A , 
θνήσκει θ ομοιως */ TYV τυχὴν ὃ εαν XPE@v. 


490 ἡμᾶς δὲ μὴ θρήνει σύ: τὰς yap ἐνθάδε 


θυσίας ἐπιστάμεσθα καὶ γιγνώσκομεν. 


ἸΦΙΓΈΝΕΙΑ. 


/ eRe: e “A 5 9.9 > , 
πότερος ap ὑμῶν ἐνθάδ᾽ ὠνομασμένος 


force of the passage lies in the figure. 
Long is the voyage ye have made to this 
land, and long indeed is the time ye will 
be away, in the world below. — am οἴκων : 
unemphatic, and to be construed with 
both clauses; see on v. 298.— κάτω: 
i.e. ἐν “Aidov. 

482 f. κἀπί: καὶ ἐπί. The prep. has 
a temporal force, as in the common 
phrase ἐπ᾽ ἐξειργασμένοις, and the 
thought ‘over and above’ is also con- 
tained in it. ‘ Why worry us when 
our fate is already sealed ?” — voy: 
const. with μέλλουσι: τὰ μέλλοντα νῷν 
κακά. ---λυπεῖς : λυπεῖν may be used 
absolutely ; ο ἄγαν γε λυπεῖς Soph. 
Aj. 589, λυπεῖς γάρ id. Ant. 1084. --- 
ἥτις εἶ ποτέ: see on vs. 340 f. 

485. Will overcome by lamentation 
the terror of his end. 

486. οὐχ ὅστις : not him who. The 
clause is a repetition, in slightly dif- 
ferent terms, of the thought just ex- 
pressed in vs. 484 f. For οὐκ, see on 
vs. 354 f. 

488 f. συνάπτει: we should say 
simply makes. —ré...ré: the parti- 


cles are correlative, and the two verbs 
together explain the preceding clause, 
with asyndeton. Translate namely, 
etc. — ὁμοίως : all the same.—éav: cf. 
v. 927. 

490f. ἡμᾶς... σύ: the personal 
pronouns are emphasized because 
there is a specific application of the 
general truth just enunciated. “And 
so do not you mourn for us.” Had 7 
Orestes allowed the priestess to repine 
for him, it would have been nearly the Pe 
same thing as repining himself. — ém- Ε΄. 
στάμεσθα καὶ γιγνώσκομεν : the down- 
right explicitness of the couplet is 
exactly suited to the mood and tem- 
per of Orestes. He gives the priestess 
to understand that his demeanor is 
not owing to any ignorance of the 
sort of fate that.awaits him. 

Note the symmetry : ten lines as 


present cured of any disposition to. 
be sentimental. hs 
492 f. The stichomythia begins τῳ 


ν 
Ἐν 
fr 


IPHIGENIA AMONG THE 


TAURIANS. 95 


Πυλάδης κέκληται; τόδε μαθεῖν πρῶτον θέλω. 


ΟΡΕΣΤΗΣ. 


ὅδ᾽, εἴ τι δή σοι τοῦτ᾽ ἐν ἡδονῇ μαθεῖν. 


IPITENEIA. 


495 


ποίας πολίτης πατρίδος Ἕλληνος γεγώς ; 


ΟΡΕΣΤΗΣ. 


τί δ᾽ ἂν μαθοῦσα τόδε πλέον λάβοις, γύναι; 


IPITENEIA. 


, > Ν , 5 > a 
πότερον ἀδελφὼ μητρός ἐστον ἐκ μιᾶς; 


ΟΡΕΣΤΗΣ. 


’ ‘4 > > i > ’ὔ ld 
φιλότητί γ᾽ ἐσμέν, OV κασιγνήτω γένει. 


ΙΦΙΓΕΝΕΊΙΑ. 


Q > » rn ¥ > ὩΣ , , 
σοι ὃ ονομα ΤΟΙΟΝν ἔθεθ O γέννησας ΠΑΤΉΡ; 


ΟΡΕΣΤΗΣ. 


500 τὸ μὲν δίκαιον δυστυχεῖς καλοίμεθ᾽ av. 


with a distich; cf vs. 1157 ff.—év- 
Gade... κέκληται : is called Pylades, as 
the name was reported here (v. 249).— 
τόδε... θέλω: Iphigenia is thinking 
of her letter that she wants to send to 
τ Argos. The name of Pylades, which 
ς she has already learned, furnishes her 
_. -~—s with a good starting-point for inqui- 
_ ries, in order to test the feasibility of 
despatching the missive; obs. her 
next question v. 495, and see vs. 588 f. 
494. ὅδε: indicating his compan- 
ion with a gesture.—el τι δή: cf 
y. 48. —év ἡδονῇ : ἡδύ (sc. ἐστι). 
496. τί πλέον λάβοις : what would 
you gain? πλέον λαβεῖν, like πλέον 
 &ew.— Orestes never comes quite 
half way to meet the priestess, and 


τ 


what seems to him an ill-timed curi- 
osity on her part. Iphigenia, on the 
other hand, evades the question which 
Orestes here puts in the place of an 
answer to her inquiry, and begins 
again from a new starting-point. 

498. Note the antithetic words at 
the beginning and end of the line. — 
κασιγνήτω : see on v. 298. --- Cf. ὅ τε 
πιστότατος πάντων Πυλάδης, | ἰσ ἀδ ελ- 
pos ἀνήρ Or. 1014. 

499. σοί: obs. the emphasis. —o 
γεννήσας πατήρ: cf. v. 360; there for 
pathos, here calling attention to that 
which confers the right to bestow a 
name. 

500. τὸ μὲν δίκαιον : by good rights. 
-ΟοΟδυστυχεῖς: /nfortunatus.—Cf. nine 
et illum Miserum ét me Mise- 


90 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


IDITENEIA. | 
> O13. 9 la a \ δὸ ‘ee , 
οὐ TOUT ἐρωτῶ" τοῦτο μὲν δὸς TH τύχῃ. 
ΟΡΕΣΤΗΣΩ κ᾿ 
5 A / 
ἀνώνυμοι θανόντες ov γε ἐλώμεϑ᾽ ἄν. 
ἸΦΙΓΈΝΕΙΑ. | A 
τί δὲ φθονεῖς τοῦτ᾽; ἢ bpovers οὕτω μέγα; 
OPEXTH3. 
ἈΝ A ‘4 3 a Ct » 
τὸ σῶμα θύσεις τοὐμόν, οὐχὶ τούνομα. 
ΙΦΙΓΈΝΕΙΑ. 
: ο , 
505 οὐδ᾽ ἂν πόλιν φράσειας ἥτις ἐστί σοι; 


ὈΡΕΣΤῊΣ." 


" 


~ Ν 39 Ν ’ ε id 
ζητεῖς yap οὐδὲν κέρδος, ὡς θανουμίνῳ. 


ΙΦΙΓΕΝΕΙΑ. 


χάριν δὲ δοῦναι τήνδε κωλύει τί σε; 


ram aéquomst. 


les, inquit, verum mihi po- 
nere nomen Hor. /pist.i.7,92. A 


premature ἀναγνώρισις is avoided by « 


this evasion on the part of Orestes; 
see Introd. p. 19. 

501. τοῦτο μὲν κτλ. : lay that to For- 
tune. — τῇ τύχῃ : Opp. to πατήρ v. 500. 

502. This answer, as well as that 
in v. 500, is perfectly dramatic, and 
the motive assigned for reticence is 
an ample one, especially to the Gre- 
cian mind. Orestes will preserve his 
incognito to the end, in view of the 
impending melancholy failure of all 
his hopes and efforts. 

503. Why do you object? Is your 
pride so great as all that?—7: this 
suggestive or in questions is generally 
to be omitted in translating. — φρονεῖς 
οὕτω peya: the true motive is touched 


nominarier 
Plaut. Pers. iv.4,95; pol me Mise- ἢ 
rum, patrone, vocares,|sivel- | 


in μέγα φρονεῖν, but the questioner is 
not aware of the peculiar circum- 
stances that intensify it. 

504. The priestess is reminded of 
(i.e. requested to mind) her business. 
506. Nay, what you ask profits noth- 
ing, seeing I am doomed to die. The 


’ renown of his native city could not 


help him now.—ydp: elliptical, as 
often in the stichomythia, cf vs. 520, 
529, 589, 552; here referring to the 
refusal implied in the answer. — ὡς 
θανουμένῳ : sc. ἐμοί: but the suppres- 
sion of the pronoun produces more of 
the effect of a general statement. 
507. χάριν: “as a favor,” opp. to 
κέρδος v. 506. “You can at least 
gratify me by answering my question, 
even though there is nothing to be 


gained by it.” The priestess appeals — 


with better results to this new motive, 
which touches the good-breeding of 
her respondent, 


IPHIGENIA AMONG THE TAURIANS. 97 


ΟΡΕΣΤΗΣ. 


Ν Ν ¥ CESS ese S > , 
τὸ κλεινὸν “Apyos πατρίδ᾽ ἐμὴν ἐπεύχομαι. 


ΙΦΙΓΕΝΕΙΑ. 


πρὸς θεῶν ἀληθῶς, ὦ Ee’, εἶ κεῖθεν γεγώς; 


ΟΡΕΣΤΗΣ. 


510 


al A > > » 
ἐκ τῶν Μυκηνῶν γ᾽, at mot ἦσαν ὀλβιαι. 


IPITENEIA. 


εἶ δ᾽ ΟΣ ‘aa / x ΄ 
φυγὰς δ᾽ ἀπῆρας πατρίδος, ἢ ποίᾳ τύχῃ; 


ΟΡΕΣΤΗῊΣ. 


, ’ ’ » > ε \ ε ’ 
φεύγω τρόπον γε δή τιν᾽ οὐχ ἑκὼν ἑκών. 


᾿ ΙΦΙΓΕΝΕΙΑ. 


καὶ μὴν ποθεινός γ᾽ ἦλθες ἐξ “Apyous μολών. 


ΟΡΕΣΤΗΣ. 


¥ rn > 
οὔκουν ἐμαυτῷ γ᾽ 


3 \ , \ “Ay? Ψ 
εἰ δὲ σοί, σὺ τουθ᾽ ὅρα. 


IPITENEIA. 


515 dp av Ti μοι φράσειας ὧν ἐγὼ θέλω; 


510. γέ: designates Μυκηνῶν as the 
specific name (the city), after the 
generic (‘Apyos the district, v. 508). 
--- αἵ ποτε κτλ.: said with the bitter- 
ness that pervades all the utterances 
of Orestes. 

511. φυγάς: nom. sing. — ἀπήρας : 

cf. v. 117, where the origin of the in- 
transitive usage is discernible. 
512. φεύγω: equiv. to φυγάς εἰμι. 
‘ — --οσοὐχ ἑκὼν ἑκών: cf. ἑκὼν ἀέκοντί γε 
θυμῷ Hom. Δ 43. Here the oxymoron 
well suits the guarded reticence of 
the speaker, and is softened by τρόπον 
γε δή τινα (in a manner). Euripides’ 
fondness for this figure is ridiculed 
by Aristophanes, Ach. 396 ff. 


ny 
“ὧν 


513. ποθεινὸς ἦλθες : you are more 
than welcome. The Greek adjective 
is stronger than the English. 

514. σὺ τοῦθ᾽ dpa: 1.6. “settle that 
with your own conscience.” Orestes, 
not knowing what is in the priestess’ 
mind, interprets roe. ός of a welcome 
victim, instead of a welcome visitor. 

515. τὶ ὧν κτλ. : idiomatic for ἃ ἐγὼ 
θέλω, here like the colloquial ‘a thing 
or two’; cf. ἣν δ᾽ αὖ τι μὴ πράσσωμεν 
ὧν ἐγὼ θέλω Iph. Aul. 1025, σὺ δ᾽ εἴ 
τι δράσεις τῶνδε, μὴ σχολὴν τίθει 
Aesch. Ag. 1059. Iphigenia takes the 
opportunity of Orestes’ improved com- 
plaisance, to extend her inquiries re- 
garding affairs at home. 


98 ΕΥ̓ΡΙΠΙΔΟΥ ἸΦΙΓΈΝΕΙΑ. 


ΟΡΕΣΤΗΣ. 


ὥς γ᾽ ἐν παρέργῳ τῆς ἐμῆς δυσπραξίας. 


IPITENEIA. 


, » > & ε “ , 
Τροίαν ισως οἷσθ᾽, Ὡς απανταχου λόγος. 


ΟΡΕΣΤΗΣ. 


ὡς μήποτ᾽ ὠφελόν γε μηδ᾽ ἰδὼν ὄναρ. 


ISITENEIA. 


, ties gies > y AMA , 
φασίν νιν οὐκέτ᾽ οὖσαν οἴὔχεσθαι δορί. 


ΟΡΕΣΤΗΣ. 


520 


¥ N Ψ 2709 =» > ὁ , 
ἔστιν γὰρ οὕτως, OVD ἀκραντ᾽ ἠκούσατε. 


ἸΦΙΓΈΝΕΙΑ. _ 


Ἑλένη δ᾽ ἀφῖκται λέκτρα Μενέλεω πάλιν; 


OPESTH2. 


ν A 39 3 A la 3. 508 ’ 
ἥκει, κακῶς γ᾽ ἐλθοῦσα τῶν ἐμῶν τινί. 


ΙΦΙΓΕΝΕΊΑ. 


A A 3 3 Ν 4 4 4 
καὶ που OTL; καμοι yap TL προυφείλει κακὸν. 


516. Ay, trifle as it is beside my fate. 
— ὡς ἐν παρέργῳ: sc. φράσω τί σοι. A 
common phrase is ἐν παρέργῳ θέσθαι τι, 
“to treat something as of secondary 
importance.” — τῆς ἐμῆς : the weight 
of this expression is probably caused 
by a feeling of antithesis. ‘“ What 
seems so highly to gratify you, is 
after all but a comparatively slight 
annoyance to me (in this bad busi- 
ness of mine).”’—Cf. πάρεργά τοι τάδ᾽ 
ἔστ᾽ ἐμῶν κακῶν Herc. Fur. 1340. 

518. Ay, and would I never had, even 
in a dream! — μήποτ᾽ ὥφελον : sc. εἰ- 
δέναι. For the const., see G. 251, 2, 
with n. 2; H. 871 a. 

519. οἴχεσθαι δορί: cf οἴχεται σφα- 
γείς ν. 652. δορί is a formula signify- 


ing “by the fate of war,” as we say 
‘by the sword.’ 

520. οὐδ᾽ ἄκραντα κτλ.: litotes; cf 
v. 461; often with ἄκραντος, cf. οὐδ᾽ 
ἄκραντ᾽ ἠκούσαμεν Bacch. 1231. 

522. ἥκει... ἐλθοῦσα: pointed 
repetition; cf. ἦλθες... μολών v. 5138. 
—kKakas ye κτλ.: “and to the sorrow 
of one of us she came.” — τῶν ἐμῶν 
τινί: Orestes means his father, whose 
return (vdcros)—the result of the 
successful ending of the war — was 
fatal to him. es 

523. κἀμοὶ κτλ.: we should say “1 
owe her a grudge too.” Cf ἐξὸν γὰρ 
αὐτῷ... ἀπολέσαι ἐκεῖνον, εἴπερ mpow- 
φείλετο αὐτῷ κακόν Antiph. v. 61.— 
προυφείλει : πρό in comp., of old. 


» 


IPHIGENIA AMONG THE TAURIANS. 


99 


ΟΡΕΣΤΗΣ. 


, la ἴω pe , 
Σπάρτῃ ξυνοικεῖ τῷ πάρος ξυνευνέτῃ. 


ΙΦΙΓΕΝΕΙΑ. 


525 ὦ μῖσος εἰς Ἕλληνας, οὐκ ἐμοὶ μόνῃ. 


OPESTHS. 


de « teal τα , A ΄ ΄ 5 
ἀπέλαυσα κἀγὼ δή TL τῶν κείνης γάμων. 


ΙΦΙΓΕΝΕΙΑ. 


, 


ie an ee A a2 3 ε bra , 
VOOTOS ὃ Αχαιων ἐγένεθ᾽, ως κηρβυσσέται; 


ΟΡΕΣΤΗΣ. 


ὡς πάνθ᾽ ἅπαξ με συλλαβοῦσ᾽ ἀνιστορεῖς. 


IPITENEIA. 


Ἂ Ἂς «ἐς a Ἀ , , 
πρὶν yap θανεῖν σε, τοῦτ᾽ ἐπαυρέσθαι θέλω. 


ΟΡΕΣΤΗΣ. 


530 aa ἐπειδὴ τοῦδ᾽ ἐρᾷς: λέξω δ᾽ ἐγώ. 


ΙΦΙΓΕΝΕΊΑ. 


Κάλχας τις ἦλθε μάντις ἐκ Τροίας πάλιν; 


ΟΡΕΣΤΗΣ. 


ὄλωλεν, ὡς ἦν ἐν Μυκηναίοις λόγος. 


IPITENEIA. 


> ΄ ) ε ki 

ὦ πότνι, WS εὑ. 
525. ὦ μῖσος : meaning Helen. Ab- 

stract for concrete, as often μῖσος. 
526. ἀπέλαυσα: ἀπολαύειν is very 

often used ironically. 

_ 528. How you do ask me about every- 

thing atonce! The νόστοι of the Trojan 


_ heroes were too various in their char- 
acter to be described in an answer as 


concise as the question in v. 527. 
529. Dead men tell no tales, and 


’ ‘\ ε 4, , 
TL yap o Λαέρτου γόνος; 


Iphigenia thinks she must get all the 
information she wants now or not at 
all. 

532. Calchas was believed to have 
died on his way home from Troy, in 
the grave of the Clarian Apollo near 
Colophon, after being defeated by the 
seer Mopsus in a contest of mantic 
art. Strabo xiv. 642. 

533. ὡς εὖ: sc. ὄλωλεν ;: how good! or 


100 ΕΥ̓ΡΙΠΙΔΟΥ IGITENEIA. 
ΟΡΕΣΤΗΣ. 
¥ ’ > > » > ε ’ 
οὔπω νενόστηκ᾽ οἶκον, ἔστι δ᾽, ὡς λόγος. 
ἸΦΙΓΈΝΕΙΑ. 
» ,ὕ , 9 3 , “ 
535 OAOLTO, νόστου μήποτ᾽ εἰς πάτραν τυχών. 
ΟΡΕΣΤΗΣ. 
Ν ’ , > ᾿ς A 
μηδὲν Katevyou: πάντα τἀκείνου νοσεῖ. 
ἸΦΙΓΈΝΕΙΑ. 
Θέτιδος δὲ τῆς Νηρῇδος ἔστι παῖς ἔτι; 
ΟΡΕΣΤΗΣ. 
οὐκ ἔστιν: ἄλλως λέκτρ᾽ ἔγημ᾽ ἐν Αὐλίδι. 
ἸΦΙΓΈΝΕΙΑ. 
/ » or » ε /, 
δόλια γάρ, ὡς ἴσασιν οἱ πεπονθότες. 
ΟΡΕΣΤΗΣ. 
540 τίς εἶ ποθ᾽; ὡς εὖ πυνθάνει tad’ Ἕλλάδος. + 
ISITENEIA. 


9 AQ? 9 A ¥ > > > 5 , 
ἐκεῖθέν εἰμι" παῖς ἔτ᾽ οὖσ᾽ ἀπωλόμην. 


“how glad Iam!” we should say. — 
τί γὰρ κτλ.: how about Laertes’ son? 
The ellipse of πράσσει is regular; cf. 
vs. 543, 576. Obs. that Iphigenia in- 
quires after her enemies — first of all, 
Helen of course, then Calchas, finally 
Odysseus (see v. 24)—before she 
asks about her friends. 

536. “ Pronounce no imprecations 
upon one who is already plunged in 
misfortune.” —vooet: νοσεῖν in trag- 
edy is a freq. metaphor for trouble 
of all sorts; cf. vs. 680, 693, 930, 1018. 
Here, of the doings of the suitors of 
Penelope in Odysseus’ house. 

538. ἄλλως κτλ. : to no purpose made 
he the marriage at Aulis. The thought 
is that the stratagem by ‘means of 
which the person of Iphigenia was 


secured for sacrifice, and the voyage 
to Troy made possible, only helped 
Achilles to his death. This is not 
perfectly dramatic from the lips ὯΝ 
Orestes, although it would occur nat: 
urally to Iphigenia herself, and to the 
spectators of the play. 

539. δόλια γάρ: ay,a fraud it was. 
Pred. adj. ; sc. ἔγημεν αὐτά. She means — 
to say that the pfetended marriage, by 
its perfidy, may well have led to un- 
happy issues. — ὡς... of πεπονθότες — 
under the form of a comprehensive 
statement the speaker alludes to her- 
self in a guarded way; cf. vs. 574 f. 

540. ὡς εὖ κτλ.: cf. ὡς Ἑλληνικῶς 
κτλ. vs. 660 ff.— rag’: τὰ ἀπό. Py. 

541. ἀπωλόμην: “I met my fate,” 
lit. was lost. Cf. the similar mean- — 


=} 


Pte f 4 
ον" ri ἦν. 


IPHIGENIA AMONG THE TAURIANS. 


εν. 


101 


ΟΡΕΣΤῊΣ. 


9 A val » 59 2 7 or dk leek Vw) , 
ὀρθῶς ποθεῖς αρ εἰδέναι TOAKEL, γυναι. 


IPITENEIA. 


4 > ε ’ 
τί δ᾽ ὁ στρατηγός, 


ἃ ’ 3 3 A 
ὃν λέγουσ᾽ εὐδαιμονεῖν; 


ΟΡΕΣΤΗΣ. 


’ > A ν 3 
τις; οὐ yap ov γ 


I-40. δ “Ὁ 9 , , 
Ey@oa τῶν εὐδαιμόνων. 


ΙΦΙΓΕΝΕΙΑ. 


545 


᾿Ατρέως ἐλέγετο δή τις ᾿Αγαμέμνων ava€. ἡ 


ΟΡΕΣΤΗΣ. 


> A 
οὐκ old: ἄπελθε τοῦ λόγου τούτου, γύναι. 


ΙΦΙΓΕΝΕΙΑ. 


μὴ πρὸς θεῶν, ἀλλ᾽ εἴφ᾽, ἵν᾽ εὐφρανθῶ, ἕένε. 


2 ΟΡΕΣΤΗΣ. 


σι 5 «¢ ΄ \ cory τ , 
τέθνηχ᾽ ὁ τλήμων, πρὸς δ᾽ ἀπώλεσέν Twa. 


IPITENEIA. 


, ΄ A ραν ὧν αν κ᾿ 
τέθνηκε; ποίᾳ συμφορᾷ; τάλαιν᾽ ἐγώ. 


ΟΡΕΣΤΗΣ. 


560 τί δ᾽ ἐστέναξας τοῦτο; μῶν προσῆκέ σοι; 


IPITENEIA. 


~ 


ΡΟΝ 3 3 A \ , ns> 9 rat ah 
Tov OABov αὐτοῦ TOV πάροιθ᾽ ἀναστένω. 


ing with the active voice: ἐπεί με yas | 
ἐκ πατρῴας ἀπώλεσεν | ἐξῴκισέν τ᾽ 
οἴκων γάμος οὐ γάμος Hec. 946, said by 
Trojan captives of the union of Paris 
and Helen. 

544. οὐ γὰρ xrd.: ἐκεῖνός ye ὃν ἐγὼ 
olda οὐκ ἣν τῶν εὐδαιμόνων. 
~ 545. ἐλέγετο δή: 1.6. ἐλέγετο εὐδαι- 
poverty. 


3 . B46 f. Adyou: subject. — εἴφ᾽ : εἰπέ. 


548. πρός : adv., besides. — ἀπώλε- 
σέν τινα: Orestes means himself; cf. 
ἥδ᾽ οὖν θανεῖται, kal θανοῦσ᾽ ὀλεῖ τινά 
Soph. Ant. 751, said by Haemon of 
himself. 

550. τί... τοῦτο: why that sigh? 
- ἐστέναξας : see on ησθόμην v. 351. 
---τοῦτο: cognate accusative. 

551.. Iphigenia had nearly betrayed 
herself at v. 549, The excuse which 


102 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΤΕΝΕΙΑ. 


ΟΡΕΣΤΗΣ. 


δεινῶς yap ἐκ γυναικὸς οἴχεται σφαγείς. 


IPITENEIA. 


> ἦν ; 8 AS MA ε , 
ὦ πανδάκρυτος ἡ κτανοῦσα xw θανών. 


ΟΡΕΣΤΗΣ. 


παῦσαί νυν ἤδη μηδ᾽ ἐρωτήσῃς πέρα. 


ΙΦΙΓΕΝΕΙΑ. : ὦ γι 


ἴα mn AARMOABEAWO™ cyto 
555 τοσόνδε γ᾽, εἰ ζῇ τοῦ ταλαιπώρου δάμαρ. 


ΟΡΕΣΤΗΣ. 


3 » A a ¥ 9 @ ¥ 
οὐκ ἐστι" TALS νιν, OV ETEX, OUTOS ὠλεσεν. 


ΙΦΙΓΕΝΕΊΑ. Ι 


ὦ συνταραχθεὶς οἶκος. ὡς τί δὴ θελών; 


ΟΡΕΣΤΗΣ. 


πατρὸς θανόντος τῇδε τιμωρούμενος. 


φεῦ: 


ΙΦΙΓΕΝΕΙΑ. 


ε > A ’ 9 ’ 
ὡς εὖ κακὸν δίκαιον εἰσεπράξατο. 


she here gives for her outburst of 
feeling is genuinely Greek. Cf. vs. 
378 f. 

552. γάρ: confirmatory of the 
change of fortune lamented by Iphi- 
genia. —€k γυναικός : 1.6. ἐκ τῆ ς yu 
ναικός. This would be understood by 
the spectator, and Iphigenia is natu- 
rally represented as understanding it. 
— For ἐκ see on vs. 220 f. 

554. Orestes sees that the conver- 
sation is approaching what is to him 
the most painful matter of all. 

556. παῖς νιν κτλ.: the son whom 
she bore, that same son slew her. Note 
the pathos and gravity in expression 
and arrangement: ὃν ἔτεκε, like 6 γεν- 


νήσας πατήρ V.360; οὗτος, placed after 
the rel. clause for rhetorical effect. 

557. ὡς τί δὴ θέλων : pray with what 
intent ? ὧς, idiomatically with the par- 
ticiple. 

558. Wreaking vengeance in this way 
for his father’s death. Cf. ν. 925,— 
πατρὸς θανόντος : causal gen.; the 
same const. as if θανάτου or φόνου 
were substituted for the participle. — 
τῇδε: ὧδε. --- τιμωρούμενος : SC. αὐτήν. 
For the pres. participle denoting pur- 
pose, see on αὔξοντες v. 411. 

559 f. φεῦ: see on v. 467. The — 
exclamation and pause at this point 
are highly effective, well suiting the 
conflict of judgments that is brought 


IPHIGENIA AMONG THE TAURIANS. 


103 


OPESTH2S. 


560 ἀλλ᾽ ov τὰ πρὸς θεῶν εὐτυχεῖ δίκαιος ὦν. 


IPITENEIA. 


λείπει δ᾽ ἐν οἴκοις ἄλλον ᾿Αγαμέμνων γόνον; 


ΟΡΕΣΤΗΣ. 


λέλοιπεν ᾿Ηλέκτραν γε παρθένον μίαν. 


ΙΦΙΓΈΝΕΙΑ. 


, , : rie : ΄ς » ’ὔ 
τί δέ; σφαγείσης θυγατρὸς ἐστι τις λόγος; 


ΟΡΕΣΤΗ͂Σ. 


οὐδείς γε, πλὴν θανοῦσαν οὐχ ὁρᾶν φάος. 


IPITENEIA. 


565 


Ce ee Yi , ε N - ἐάν , 
τάλαιν ΕΚΕυνὴ χω ΚΤανων αὐυτΉν ΠΑΤΉΡ. 


ΟΡΕΣΤΗΣ. 


κακῆς γυναικὸς χάριν ἄχαριν ἀπώλετο. 


ΙΦΙΓΕΝΕΊΑ. 


ε a , > » ae , 
ὁ τοῦ θανόντος δ᾽ ἔστι παῖς Αργει πατρός; 


Urve f 7 


OPEXSTHS. 


3 3 » ας ee > an \ ἴω 
ἔστ᾽, ἀθλιός ye, κοὐδαμοῦ καὶ πανταχοῦ. 


to view by the oxymoron κακὸν δί- 
katov.— δίκαιον : instead of δίκην (ret- 
ribution) for the sake of the pointed 
rejoinder δίκαιος ὦν. --- εἰσεπράξατο : 
exacted. — τὰ πρὸς θεῶν : acc. of speci- 
fication. — εὐτυχεῖ : adapted with point 
to εὖ above. — The force and elegance 
of this distich can be shown in English 
only by a very free paraphrase. Jph. 
“Ah! an evil deed of justice right 
well done.” Or. “Yet Heaven does 
not well by him, just though he 
be.” 

563 f. τί δέ: transitional formula 


in questioning; τί γάρ is used simi- 
larly ; cf. v. 820.— πλὴν κτλ. : the inf. 
stands in indir. disc.: sc. λόγος ἐστίν. 

566. For a bad woman’s graceless 
sake she perished. —kaxys γυναικός : 
Helen. 

567 f. ἔστι: in both lines not the 
mere copula, but a verb of existence. 
- κοὐδαμοῦ kal πανταχοῦ: Kal... Kal, 
correlative. Oxymoron again; here 
to depict the victim of the Furies, 
driven restlessly from place to place. 
The expression is also a bitter reply 
to ’Apyex in the question of Iphigenia. 


104 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


IPITENEIA. 


ΠΣ δεῖς ὄνειροι, χαίρετ᾽ Φ οὐδ, ἢ ir ἄρα! 


> » 4 


ΟΡΕΣΤΗΣ. 


570 οὐδ᾽ οἱ gape. γε δαίμονες κεκλημένοι 
Ὁ πτηνῶν Oe ΟΣ εἰσὶν. ἀψευδέστεροι. 


πολὺς ταραγμὸς. ἔν TE τοῖς θείοις ἔνι 


> a ΄ ἃ \ A ΄, 
καν τοις βροτείοις " εν δὲ λυπεῖται μόνον, 


7 9 9 » Εἴ , N , 
ὅτ᾽ οὐκ ἄφρων ὧν μάντεων πεισθεὶς λόγοις 


575 ὄλωλεν ὡς ὄλωλε τοῖσιν εἰδόσνν. 


569. This line marks a new stage 
in the progress of the drama. Iphi- 
genia, having ascertained that Orestes 
lives, is now quite ready to consum- 
mate her plan of sending the letter. 

570 f. Orestes knows nothing of 
the priestess’ dreams, but he adapts 
his words to her ὄνειροι and ψευδεῖς in 
a characteristic reflection of his own. 
The despondent scepticism of our 
hero, here and everywhere in the 
play, is not only thoroughly dramatic, 
—1.e. the natural outcome of his com- 
bined temperament and experience, — 
but it serves admirably as a foil, to 
set off for the spectator the high and 
beneficent purpose of the Delphian 
god.—ovSe: makes the adaptation 
close; “neither are, etc.” — σοφοί: pred. 
For the arrangement of the words, see 
G. 142, 2, κ. 5; H. 667 a.— πτηνών : 
ornamental epithet, but well in keep- 
ing with the sentiment of the pas- 
sage. 

572. πολὺς Tapaypos: utter confu- 
sion; the opposite of ἀθανάτου φύσεως | 
κόσμον ἀγήρω Frag. 153.—éw: 
στι. 

573-575. ἕν : cognate acc. retained 
with the pass. (H. 725 c), correspond- 
ing to an act. const. ἕν, πολλὰ λυπεῖν 


¥ 
€Ve- 


τινά: Ch. τῶν τἀλάχιστα λυπουμένων 
Frag. 988, --- λυπεῖται: passive; the 
subj.is seen from what follows, and is 
continued from vy. 567. At the same 
time the 38d pers. is not too clear, as 
the Ist (λυποῦμαι κτλ.) would have 
been. Orestes is speaking rather for 
himself (τοῖσιν εἰδόσιν) than for the 
priestess. — ore: causal in effect. — 
μάντεων : vaguely indicating the ora- 
cle of Apollo. — ὄλωλεν ὡς ὄλωλε: a 
common form of speech when a per- 
son for any reason does not care to 
name the particulars, or prefers to 
keep the full significance of his mus- 
ings to himself; cf πράσσονθ᾽ ἃ πράσσω 
v. 692.— τοῖσιν εἰδόσιν : dat. of refer- 


ence. See also on of πεπονθότες v. 539. 


—In one way only is he pained, when 
through no unwisdom of his own, by voice 
of seers persuaded, he perishes as he does 
perish, to those who know. Obs. that the 
entire suppression of a pronominal 
subject in the Greek cannot be imi- 
tated in English. 


These six lines of Orestes (vs. δῖ0-. 
575) aptly conclude and round off. 


the long, and in many ways remarka- 
ble, stichomythia. Cf the reflections 


that preceded the conversation, vs. 


476 ff. 


aa 


IPHIGENIA AMONG THE TAURIANS. 105 


ΧΟΡΟΣ. 


lal A , 3 ε la) ν 5 5 Ν la 
φεῦ φεῦ: τί δ᾽ ἡμεῖς οἵ τ᾽ ἐμοὶ γεννήτορες; 
Pk eed > > > es , , » 
ap εἰσίν, ap οὐκ εἰσί; τίς φράσειεν αν; 


~ 


IPITENEIA. 


> 4 > > ς ͵ὕ 3 vd , 
ἀκούσατ * ELS yap δή τιν᾽ ἥκομεν Λόγον, 


ὕμιν T ὄνησιν, ὦ ξένοι, σπεύδουσ᾽, ἅμα 


580 κἀμοί. 
εἰ πᾶσι ταὐτὸν πρᾶγμ᾽ 


τὸ δ᾽ εὖ μάλιστά γ᾽ οὕτω γιγνεκαί, 


ἀρεσκόντως ἔχει. 


, » > i 4 > 5 “~ ’ ’ὕ 
θέλοις av, εἰ σώσαιμί σ᾽, ἀγγεῖλαί τί μοι 


πρὸς “Apyos ἐλθὼν τοῖς ἐμοῖς ἐκεῖ φίλοις, 


> > ~ ν > / > \ 

δέλτον τ᾽ ἐνεγκεῖν, ἦν τις οἰκτείρας ἐμὲ 
5 ¥ > aN ace Ν᾿ Ν 3 Ν 
85 ἔγραψεν αἰχμάλωτος, οὐχὶ τὴν ἐμὴν 
A a > 

φονέα νομίζων χεῖρα, τοῦ νόμου δ᾽ ὕπο 

, ἴω A , , > ε , 
θνήσκειν σφε, τῆς θεοῦ τάδε δίκαι᾽ ἡγουμένης; 


576 f. See on vs. 840 f. Here the 
distich of the coryphaeus marks for- 
mally the transition noted on v. 569. 
—rl: as in vs. 533, 545. — ἡμεῖς, ἐμοί 
(adj.): the change from pl. to sing. 
is not exactly the same as that noted 
on vs. 348 f. A chorus may properly 
be designated by either the sing. or 
the pl. number; see H. 638. 

578-580. εἰς γὰρ... κἀμοί: “we 
have reached a matter now in which 
I have your interests at heart as well 
as my own.” --- λόγον: the generic 
word Adyos, answering as noun to all 
meanings of the verb λέγειν, is em- 
ployed freely in Greek where in Eng- 
lish more specific terms are needed. 
Hence the various ways of translating 
λόγος : subject, reason, excuse, argument, 
description, etc. 

580 f. οὕτω: explained by the 
foll. clause v. 581.—otrw γίγνεται 
(__,_ uv _): offends against ‘ Por- 
son’s rule,’ H. 1091 (5). ὧδε γίγνεται 


(_u,— uw —_) would be smoother. It 
should be remembered, however, that 
the Greeks wrote their verses by ear, 
and every complex had its own rhyth- 
mical character and requirements. Cf. 
v. 678, a passage not so easy to ‘cor- 
rect’ as this. —el...éxev: ὅταν τὸ 
αὐτὸ πᾶσιν ἀρέσκῃ. “A happy result is 
best reached when there is identity 
of interests.” 

582. θέλοις av: addressed to Ores- 
tes, whom the priestess now knows to 
be an Argive. 

586 f. φονέα : pred. noun instead of 
fem. adj. — θνήσκειν ode: mori se. 
The subj. of the inf., which would reg- 
ularly be omitted (θνήσκειν νομίζων), 
is here expressed for the sake of clear- 
ness (H. 940 b), the pers. pron. taking 
the place of the reflexive (H. 684). 

It is not clear that Euripides hesi- 
tated to represent a woman as able 
to write (Phaedra has to write her 
own letter Hipp. 856 ff.), but he cer- 


106 


ΕΥ̓ΡΙΠΊΔΟΥ ἸΦΙΓΈΝΕΙΑ. 


οὐδένα γὰρ εἶχον ὅστις ᾿Αργόθεν μολὼν 


3 » > Ν 3 Ν > \ 
εἰς “Apyos αὖθις τὰς ἐμὰς ἐπιστολὰς 


δ90 


πέμψειε σωθεὶς τῶν ἐμῶν φίλων τινί. 


Ν 3 > , ε »” ΕΝ N 
σὺ δ᾽, εἶ γάρ, ws ἔοικας, οὔτε δυσγενὴς 


Ν Ν 
καὶ τὰς 
σώθητι, 
κούφων 


Μυκήνας οἶσθα yous κἀγὼ θέλω, 

Ἁ ‘ Ν > > Ἂς Ν 
καὶ σὺ μισθὸν οὐκ αἰσχρὸν λαβὼν 
ἕκατι γραμμάτων σωτηρίαν. 


595 οὗτος δ᾽, ἐπείπερ πόλις ἀναγκάζει τάδε, 


tainly did not hesitate to represent 
one as unable to do so. Here, the 
episode of the captive helps Iphigenia 
to deprecate the blame of her present 
victims; cf. v. 637. 

588-590. οὐδένα yap εἶχον: sc. 
“until you came.” γάρ refers to vs. 
582 f.— ὅστις πέμψειε: denotes pur- 
pose; see GMT. 65, nN. 36. πέμψαι is 
here equiv. in sense to ἐνεγκεῖν v. 584, 
and again v. 604, but the verb is of 
course also applicable to the sender, as 
in vs. 615, 667.—owels: concisely ap- 
pended to πέμψειε, the recompense to 
the service rendered. — τῶν ἐμῶν φίλων 
τινί : the same expression occurs again 
in v. 639. It is Iphigenia’s natural 
hesitation to reveal herself that pre- 
vents her from being forward in nam- 
ing the one to whom she sends the 
letter. — τὰς ἐμάς and τῶν ἐμῶν have a 
corresponding emphasis. 

591-594. σὺ δέ: in contrast to 
οὐδένα εἶχον Vv. 588.—ovre δυσγενής : 
Sar from ignoble ; litotes for (and, if any- 
thing, stronger than) εὐγενής. Ores- 
tes has shown his breeding, with all 
his offishness and cynical reserve, and 
the priestess feels instinctively that 
he can be trusted for the honorable 
execution of any commission he may 
undertake. Cf what she says at vs. 
609 f., after seeing a little more of 
him. — οὔτε... kal: cf homo nec 


meo iudicio stultus et suo 
valde prudens Cic. De orat. i. 39; 
see also the examples of irregular 
neg. correlatives cited on vs. 354 f. 
— ots κἀγὼ θέλω : καὶ οἶσθα τούτους 
ods ἐγὼ θέλω σε εἰδέναι. He is ac- 
quainted with just the right people. 
The third καί (κἀγώ), if not quite 
logical, is idiomatic enough. — σώ- 
θητι : takes up σωθείς (v. 590) affirma- 
tively, and points the significance of 
that word in its place. The thought 
of σωθείς, rather than of πέμψειε, is 
dwelt on here; the latter reappears 
in κούφων γραμμάτων below. — καὶ σὺ 
εὐν σωτηρίαν : yourself, too, winning no 
mean recompense —a life saved, for tiny 
letters of the pen. The σώθητι is ex- 
panded, καὶ σύ being contrasted with 
an implied ὥσπερ καὶ ἐγώ. “As I gain 
a long-wished-for end, so you for your 
part will be nobly rewarded.” Iphi- 
genia emphasizes this thought of re- 
ciprocal benefit from the first (cf v. 
581).— οὐκ αἰσχρόν : for καλόν: a not 
infrequent litotes, cf. στέφανος οὖκ αἰσ- 
xpos πόλει | καλῶς ὀλέσθαι Troad. 401. 

595. οὗτος : Pylades. — ἐπείπερ πό- 
λις κτλ.: Iphigenia lets pass no op- 
portunity to plead the necessity of the 
case ; cf. v. 620.. That she might pre- 
vail to save one of the victims, but 
not both, is a perfectly reasonable as- 
sumption of the plot. 


IPHIGENIA AMONG THE TAURIANS, 


θεᾷ γενέσθω θῦμα χωρισθεὶς σέθεν. 


ΟΡΕΣΤΗΣ. 


καλῶς ἔλεξας τἄλλα πλὴν ἕν, ὦ ξένη" 
Ν Ν ~ / > > Ν 4 , 
τὸ yap σφαγῆναι τόνδ᾽ ἐμοὶ βάρος μέγα. 
ὃ ναυστολῶν γάρ εἰμ᾽ ἐγὼ τὰς συμφορᾶς, 


Ὁ Ἁ A A a. / , 
οὗτος δὲ συμπλεῖ τῶν ἐμῶν μόχθων χάριν. 


» , ἘΣ Ψ 3 id ~ AQ> | om” 
οὔκουν δίκαιον ἐπ᾽ ὀλέθρῳ τῷ τοῦδ᾽ ἐμὲ 


χάριν τίθεσθαι καὐτὸν ἐκδῦναι κακῶν. 


ἀλλ᾽ ὡς γενέσθω. τῷδε μὲν δέλτον δίδου, 


, \ ¥ ν ἴω » 
πέμψει γὰρ Ἄργος, wate σοι καλῶς ἔχειν. 


605 


ε ww > ε ’ ’ 
ἡμᾶς δ᾽ ὁ χρήζων κτείνετω. 


τὰ τῶν φίλων 


» ν A > Ν 
αἴσχιστον ὅστις καταβαλὼν εἰς ξυμφορὰς 


αὐτὸς σέσωται. 


τυγχάνει δ᾽ ὅδ᾽ ὧν φίλος, 


ὃν οὐδὲν ἧσσον ἢ ᾽μὲ φῶς ὁρᾶν θέλω. 


596. Notice the alliteration (θ). 

598. τόνδ᾽ ἐμοί: juxtaposition of 
the antithetic words; cf. τοῦδ᾽ ἐμέν. 
601. For the rhythm, see on v. 674. 
-- βάρος μέγα: agrave calamity. Ὁ 

599 f. “It is I that go captain in 
these ventures; he is only my mate 
for the voyage, etc.” Both figurative 
and literal. Cf. ἀλλ᾽ ἐν κακοῖς τοῖς σοῖ- 
σιν οὐκ αἰσχύνομαι | ξύμπλουν ἐμαυ- 
. τὴν τοῦ πάθους" ποιουμένη Soph. Ant. 
540, said by Ismene to Antigone, the 
latter being ἡ ναυστολοῦσα τὸ πάθος, 
τὰς συμφοράς, τὸν πλοῦν. 

601 f. ἐπ᾽ ὀλέθρῳ κτλ. : that I, to his 
destruction, should earn the reward of 
my own deliverance from death. — ἐπί: 
denotes result or condition. — χάριν 
τίθεσθαι: sc.col. Said with reference 
to Iphigenia; it is by conferring the 
requested favor on her, that Orestes 
would achieve his escape, but this re- 
sult is named in addition (καὶ αὐτὸν 
κτλ.) as the important matter with 


reference to Pylades.—avrov (ip- 
sum): construe with ἐμέ. 

603 f. ἀλλ᾽ ds: ὥς demonstrative. 
In Attic prose only καὶ ὥς, οὐδ᾽ ὥς, und 
és (H. 284).— πέμψει : οἴσει, cf. v. 590. 
-- ὥστε σοι κτλ.: that all shall be well 
Sor thee. — καλῶς ἔχειν : impersonal. 

605 f. ta τῶν φίλων: periphrasis 
for τοὺς φίλους, but somewhat more 
general in effect, as τοὺς φίλους itself 
would be more general here than τὸν 
φίλον or even φίλον. Cf. vs. 476, 1006, 
and see H. 750 Ὁ fin. Obs. the posi- 
tion of the phrase at the head of the 
whole sentence, as its theme, though 
grammatically to be const. with κατα- 
βαλών in the rel. clause. — αἴσχιστον : 
sc. ἐστί. This is the main predicate. 
— ὅστις : εἴ tis. Cf. v. 1064. 

608. ἐμέ : regularly instead of the 
reflexive (H. 684 Ὁ). ---φῶς dpav: 
often in tragedy for ζῆν, likewise φῶς 
βλέπειν, ἥλιον βλέπειν, or simply βλέ- 
Cf. vs. 349, 374, 118, 


πειν. 


108 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


(Le hj’ IPITENEIA. 


f 


5 i 9-y ε 5. er 9 A δ 
ὦ λὴμ αἀριστον, ὡς am εὐγενοῦς τινὸς 


610 


ῥίζης πέφυκας τοῖς φίλοις τ᾽ ὀρθῶς φίλος, ¥ 


nA »» A lal e 4 
τοιοῦτος Eln TOV ἐμῶν ὁμοσπόρων 


ὅσπερ λέλειπται. 


Ν Ν 5.9 > ’ ’ 
Kal yap οὐδ Eva, ἕένοι, 


<> / , > Ν ν 3 5» ε a , 
ἀνάδελφός εἶμι, πλὴν ὅσ᾽ οὐχ ὁρῶσά νιν. 


ἐπεὶ δὲ βούλει ταῦτα, τόνδε πέμψομεν 


615 


δέλτον φέροντα, σὺ δὲ θανεῖ: πολλὴ δέ τις 


la AQ? » , 
προθυμία σε τοῦδ᾽ ἔχουσα τυγχάνει. 


ΟΡΕΣΤΗΣ. 


, \ / Ν Ἂς Ν 4 
θύσει δὲ Tis pe Kat Ta δεινὰ τλήσεται; 


IPITENEIA. 


ἐγώ: θεᾶς yap τήνδε προστροπὴν ἔχω. 


ΟΡΕΣΤΗΣ. 


¥ , shi sh A 5 9 , 
ἀζηλά γ᾽, ὦ νεᾶνι, κοὐκ εὐδαίμονα. 


609 f. O noble spirit, how truly art 
thou from some goodly line descended, 
and to thy friends a friend indeed ! — 
πέφυκας : πεφυκέναι is a freq. poetic 
synonym of εἶναι, but the precise 
meaning of the verb may still come 
to view and have its special appro- 
priateness, as here with its first predi- 
cate ἀπὸ ῥίζης. The same remark 
may be made of γεγώς as synonym of 
gv: cf. v. 495, and esp. v. 509. 

611 f. τῶν ἐμῶν... λέλειπται : he 
that is left to me of my own kin. ὁμό- 
σποροι, however, here and usually, 
signifies brothers and sisters; cf. vs. 
695, 922. — ὅσπερ : more pointed than 
the simple és. 

613. πλὴν ὅσα KTA.: except in so 
Jar as I behold him not. The specta- 
tor would highly enjoy the little ex- 
ception which Iphigenia, who is think- 


ing of the letter, feels constrained to 
make. This ‘irony’ is beautifully 
sustained from first to last, yet per- 
haps it is seen at its best in vs. 627- 
635. 

614. βούλει: prefer. 

615 f. πολλὲ δέ τις KTA.: you are 
possessed by a singular readiness for 
that event.—rovde: τοῦ θανεῖν. --- τὶς 
and τυγχάνει convey the tone of one 
who cannot quite satisfactorily ac- 
count for what she witnesses. 

617. καὶ... τλύήσεται: and bring 
himself to the dreadful task. — τὰ δεινά : 
cognate acc.; cf. v. 869, also v. 862. 

618. προστροπήν : homage. 

619. Services unenviable truly, 
maiden, and unblest.— ἄζηλα : general- 
izing plural (like δεινά v. 617), not- 
withstanding the sing. προστροπήν Υ. 
618. 


IPHIGENIA AMONG THE TAURIANS. 109 


IPITENEIA. 


620 ἀλλ᾽ εἰς ἀνάγκην κείμεθ᾽, ἣν φυλακτέον. 


ΟΡΕΣΤΗΣ. 


αὐτὴ ξίφει θύουσα θῆλυς ἄρσενας; 


IPITENEIA. 


οὔκ: ἀλλὰ χαίτην ἀμφὶ σὴν χερνίψομαι. 


ΟΡΕΣΤΗΣ. 


ath 


ε \ \ ΄ > 9 ε A ve 
ὁ δὲ σφαγεὺς Tis; εἰ τάδ᾽ ἱστορεῖν με χρή. 


ΙΦΙΓΕΝΕΊΙΑ. 


¥ , A OQ 93 VA e , 
εἴσω δόμων τῶνδ᾽ εἰσὶν οἷς μελει τάδε. 


ΟΡΕΣΤΗΣ. 


625 τάφος δὲ ποῖος δέξεταί μ᾽ ὅταν θάνω; 


IPITENEIA. 


aA Bates ¥ ; > 9 \ , 
πυρ ἱερον ἔνδον χασμᾶ T ευὐρῶπον πετρᾶς. 


ΟΡΕΣΤΗΣ. 


φεῦ: 


πῶς av μ᾽ ἀδελφῆς χεὶρ περιστείλειεν ἄν; 


620. εἰς ἀνάγκην κείμεθα : I am laid 
under the necessity. κεῖσθαι is the reg- 
ular passive of τιθέναι. Either word 
implies motion, hence eis. 

621 f. ξίφει θύουσα: i.e. σφάττουσα. 
In these two lines the same division 
of θύειν (θύσει v.617) occurs as in v. 40 
after v. 38. — θήλυς ἄρσενας : the jux- 
taposition of reciprocal or antithetic 
terms was much affected in the tragic 
style, though by no means peculiar 
to tragedy ; cf. βαρβάροισι βάρβαρος v. 
31, παροῦσ᾽ ἀπόντι ν. 62, ὁσίας ὅσιον Vv. 
180, τρεῖς μία v. 1065, φόνῳ φόνον ν. 
1223. For θῆλυς as fem., see H. 229 a. 


625. Due and proper burial rites 
were a matter of the deepest concern 
to the ancient Greek. 

626. Diodorus Siculus xx. 14 sug- 
gests that Euripides may have de- 
rived the notion of this fiery tomb 
from accounts of a Carthaginian deity 
(Κρόνος, i.e. Moloch’), upon the up- 
lifted hands of whose brazen image 
human victims were placed, whence 
they rolled into a pit of fire. — εὐρω- 
mov: yawning. For the form of the 
word, cf. κοιλωπός Vv. 268. 

627. The duty of composing (περι- 
στέλλειν) the remains, devolved upon 


110 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΙΦΙΓΕΝΕΙΑ. 


ἘΣ 


, > λιν , y > Ὁ 
μάταιον εὐχήν, ὦ τάλας, οστις TOT εἶ, 
¥ N κ᾿ ,ὕ , , 
ηὔξω" μακρὰν γὰρ βαρβάρου ναίει χθονός. 
680 οὐ μήν, ἐπειδὴ τυγχάνεις ᾿Αργεῖος ὦν, 


ἀλλ᾽ ὧν γε δυνατὸν οὐδ᾽ ἐγὼ ᾿λλείψω χάρν. 


’ , ’ὔ 3 ’ - ’ὔ 
πολύν τε γάρ σοι κόσμον ἐνθήσω τάφῳ, 


wn 9 9 ’ ἊΝ Ἃς , 
ξανθῷ 7 édaiw σῶμα σὸν κατασβέσω, 


\ ial 9 ’ 3 ᾿ , 
καὶ τῆς ὀρείας ἀνθεμόρρυτον γάνος 


635 ξουθῆς μελίσσης εἰς πυρὰν βαλῶ σέθεν. 


the female relatives of the dead. 
Orestes is thinking of Electra. In 
Sophocles, Electra herself says of 
Orestes, whom she believes dead, 
κακῶς ἀπώλου, σῆς κασιγνήτης δίχα" | 
κοὔτ᾽ ἐν φίλαισι χερσὶν ἣ τάλαιν᾽ ἐγὼ | 
λουτροῖς σ᾽ ἐκόσμησ᾽ οὔτε παμφλέκτου 
πυρὸς | ἀνειλόμην, ὡς εἰκός, ἄθλιον βάρος 
Soph. El. 1197. -- πῶς ἂν κτλ.: the 
question is equivalent to a wish; see 
GMT. 82, n. 5; H. 870 6. 

629. χθονός: gen. of separation 
after the adverb μακράν. 

630 f. Yet no! — for since thou art an 
Argive, so far as may be, I will not my- 
self omit the grateful service.— οὐ μὴν 
ἀλλά: see H.1035c. The particles 
regularly occur as a compact ellipti- 
cal phrase, not separated as here by 
a parenthetic clause. The separation 
lends weight to the negation. This 
passage is further remarkable in hav- 
ing a negative statement (‘litotes’) 
after ἀλλά, instead of an affirmative 
one — in fact, the very negation which 
would regularly supply the ellipse : — 
ov μὴν GAN οὐκ ἐλλείψω, instead of οὐ 
μὴν (ἐλλείψω) ἀλλὰ δώσω. This again 
adds rhetorical force. — ὧν ye δύνατον : 
τούτων & γε δύνατόν ἐστι χαρίσασθαι. 
The gen. limits χάριν, and is explained 
in substance by κόσμον, ἐλαίῳ, ete. 


below. — ov8 ἐγώ: contrasting ἐγώ 
with the subject of ναίει v.629; cf. v. 
612. 

632. κόσμον: fine raiment espe- 
cially is meant; cf. καίεο δ᾽ ἔν τ᾽ 


ἐσθῆτι θεῶν καὶ ἀλείφατε πολλῷ [ καὶ 


μέλιτι γλυκερῷ Hom. w 67, of the 
funeral of Achilles.—tddq: viz. that 
described in v. 626. 

633. κατασβέσω : the fire of course 
could not be quenched with oil, but 
an offering poured to feed the last 
dying flame might fairly be cxpressed 
by this word. 

634 f. And flower-distilled nectar of 
the brown wild bee will I cast into thy 
pyre. Cf. v. 165, and τῆς ἀνθεμουργοῦ 
στάγμα, παμφαὲς μέλι, in the passage 
quoted from Aeschylus on that line. 
γάνος : γάνυσθαι (Vv. 1289), cf. ‘Gany- 
mede.’ Here “balm,” (‘of a thousand 
flowers’); usually “cordial,” (of the 
vine) ἀμπέλου γάνος Aesch. Pers. 615, 
βότρυος Bacch, 261, 382, Διονύσου Cycl. 
415; sometimes only “beverage,” (of 
cold water) κρηναῖον γάνος Aesch. Pers. 
483, διοσδότῳ γάνει id. Ag. 1891 (the 
dew from heaven — what ‘the black 
earth drinks’). 2 

There is in Iphigenia’s second qua- 
train (vs. 632-635) a lisping melody 
(sigmatism modified by liquids) of 


IPHIGENIA AMONG THE TAURIANS. 


111 


ἀλλ᾽ εἶμι δέλτον τ᾽ ἐκ θεᾶς ἀνακτόρων 

ν Ν , Ν ᾿ 3 a) ’ 
οἴσω" τὸ μέντοι δυσμενὲς μὴ "Mod λάβῃς. 
φυλάσσετ᾽ αὐτούς, πρόσπολοι, δεσμῶν ἄτερ. 
¥ ¥ A . κα ΄ κ 

lows ἄελπτα τῶν ἐμῶν φίλων τινὶ 


πέμψω πρὸς “Apyos, ὃν μάλιστ᾽ ἐγὼ φιλῶ, 


640 
καὶ δέλτος αὐτῷ ζῶντας, οὺς δοκεῖ θανεῖν, 
λέγουσ᾽ ἀπίστους ἡδονὰς ἀπαγγελεῖ. 
ΧΟΡΟΣ. 
κατολοφύρομαι σὲ τὸν χερνίβων 
ε ’ δ ε a ε = 
645 ῥανίσι μελόμενον ῥανίσιν αἱμακταῖις. 


ΟΡΕΣΤΗΣ. 


οἶκτος γὰρ οὐ ταῦτ᾽, ἀλλὰ χαίρετ᾽, ὦ ἕέναι. 


surpassing sweetness, fit to be de- 
scribed by Homer’s μέλιτος γλυκίων 
ῥέεν αὐδή A 249. 

637. τὸ μέντοι κτλ. : the unfriendly 
will, however, take not as from me. She 
means that he must accept the hostile 
act as the law of the land, as the cap- 
tive who wrote the letter for her chose 
to do (vs. 585 ff.). See on v. 595. μέν- 
τοι is adversative. τὸ δυσμενές, and 
δέλτον (first word after the pause v. 
636), have corresponding emphasis. 
The priestess’ movement to fetch the 
letter that is to save the life of Py- 
lades, suggests to her once more the 
nearer approach of his companion’s 


very different fate. 


638. πρόσπολοι: the guards re- 
enter from the temple as the doors 
are opened for Iphigenia; see v. 470. 
--δεσμῶν ἄτερ: 1.6. the manacles are 
not to be replaced; cf. vs. 468 f. 

639-642. These lines are of the 
nature of a soliloquy, pronounced as 
she is on the point of crossing the 
threshold. 


641 f. And the letter, declaring that 
they live whom he supposes dead, will an- 
nounce to him a joy incredible. —{avras 
λέγουσα: see on vy. 1047. Here the 
participle is under the influence of 
ἀπαγγελεῖ, With which it would be reg- 
ular. — The plural again enables Iph- 
igenia to avoid speaking too plainly; 
cf. ν. 589. — ἀπίστους ἡδονάς : cf. ἀπί- 
στῳ περιβαλὼν βραχίονι v. 796, when 
the message is actually delivered; also 
ἄτοπον ἁδονάν v. 842. 


(Commos. ) 


‘644-656. See Introd. p. 33, and 
for the metre 7b. p. 50. 

644 f. Addressed to Orestes. — σέ: 
the emphatic form, in accordance with 
the antithesis, (σὲ δέ v. 647). — pedo- 
μενον : devoted, i.e.doomed. Cf. v. 184, 
“Aida μέλονται κάτω Hel, 1161,” Apreuy, 
ἃ μελόμεσθα Hipp. 60.— pavlow αἷ- 
μακταῖς : cf. δρόσον αἱμητηράν v. 443. 
ῥανίς : ῥαίνειν (sprinkle). 

646. The usual idiomatic arrange- 
ment would be ἀλλ᾽ οὐ γὰρ οἶκτος ταῦτ᾽ 


112 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ΧΟΡΟΣ. 


Ἂ \ 4 “4 3 ’ 
σὲ δὲ τύχας μάκαρος, ἰὼ νεανία, 


σεβόμεθ᾽, εἰς πάτραν ὅτι πόδ᾽ ἐμβάσει. 


ΠΥΛΑΔΗΣ. 


660 


ἀζηλά τοι φίλοισι, θνησκόντων φίλων. 


ΧΟΡΟΣ. 


fy 


ὦ 
ϑς Ἂν 3. ῊνΝ 
αἰαῖ αἰαῖ. 
πότερος ὁ μέλλων; 
655 


σχέτλιοι πομπαΐί: φεῦ φεῦ ἀπόλλυσαι. 


ἔτι γὰρ ἀμφίλογα δίδυμα μέμονε φρήν, 


Ν te x 3 5 4 ’ 
σὲ πάρος ἢ σ᾽ ἀναστενάξω γόοις. 


ΟΡΕΣΤΗΣ. 


Πυλάδη, πέπονθας ταὐτό, πρὸς θεῶν, ἐμοί; 


ἐστί, χαίρετε. Cf. ν. 118. --- γάρ : refers 
forward to χαίρετε. --- ‘‘ Nay, here is 
no cause for sorrow, stranger maidens, 
but for your rejoicing!” 

647 f. Addressed to Pylades. — tv- 
Xas: causal gen. —oeBopeba: nearly 
equiv. to μακαρίζομεν (congratulate). — 
πόδ᾽ ἐμβάσει: πόδα is very often 
joined to intrans. verbs in Euripides 
(H. 716 Rem.). Cf. eis ἄντλον ἐμβή- 
ge. πόδα Heracl. 168. We should say 
‘‘thou wilt set foot in, etc.” 

650. ἀΐζηλα: sc. ἐστί. For the pl. 
see H. 635 a.— Ovynckovtev φίλων : 
ὅταν θνήσκωσι φίλοι. 

The responses of Orestes and Py- 
lades, deprecating the commiseration 
and congratulation tendered to them 
respectively by the chorus, foreshadow 
the scene which follows (vs. 672-722), 
the contest of friendship. If the two 
choral passages, vs. 644 f. and 647 f., 
were sung each by a semichorus, as 
they very likely may have been, this 


would give a neat cross-arrangement 
in the grouping, thus : — 


πος ἦς, Semuche 


651-656. The chorus has caught 
somewhat of the spirit that animates 
the two friends themselves. 


651. ὦ σχέτλιοι πομπαί: ah, cruel bs 


errand! Addressed to Pylades. — πομ- 
mat: corresponding to πέμπειν in vs. 
590, 604. — ἀπόλλυσαι: addressed to 
Orestes, as could be mrade perfectly 
clear in the representation. +3 


653. ὁ μέλλων : sc. ἀπολεῖσθαι, from 


~~ .. 


ἀπόλλυσαι above. 


one?” 


655 f. “My heart swells still with — 


“Which is the © 


΄-ο 


= 


¥ 


IPHIGENIA AMONG THE TAURIANS. 


118 


TITAAAHS. 


3 399 3 τα > , » , 
οὐκ 010 - ἐρωτᾷς ov λέγειν ἔχοντά με. 


ΟΡΕΣΤΗΣ. 


660 


’, 3 Ν ε ΄ ε ε ἴω 
τίς ἐστὶν ἢ νεᾶνις; ὡς Βλληνικῶς 


ἀνήρεθ᾽ ἡμᾶς τούς T ἐν ᾿Ιλίῳ πόνου 
ἤρεθ᾽ ἡμᾶς ᾿ ς 


, δὲ 9 a , oe > a Ν 
VOOTOV T Αχαιων TOV T EV OLWVOLS σοφὸν 


Κάλχαντ᾽ ᾿Αχιλλέως τ᾽ ὄνομα, καὶ τὸν ἄθλιον 


"A , > ε » 3 ᾽ὔὕ ’ 
γαμέμνον WS ᾧκτειρεν ἠρώτα τέ με 


665 γυναῖκα παιδάς τ΄. 


»» ε ’ 4 
ἔστιν ἡ ἕένη γένος 


5 »“ 5 4 > ἈΝ 3 
ἐκεῖθεν Αργεία τις: οὐ γὰρ ἂν ποτε 


δέλτον τ᾽ ἔπεμπε καὶ τάδ᾽ ἐξεμάνθανεν, 


a Ν ’ὔ > ¥ > , A“ 
ὡς κοινὰ πράσσουσ᾽, Ἄργος εἰ πράσσει καλῶς. 


wavering doubt twofold.” Cf. διχθὰ 
δέ μοι κραδίη μέμονε φρεσὶν ὁρμαίνοντι 
Hom. Π 435. The Homeric μέμονας, 
μέμονεν, occurs aiso in Aeschylus and 
Sophocles. — 4: without preceding 
πύτερον ΟΥ εἰ: cf. οὐδέ Ti ἴδμεν, | (ζώει 
ὅ γ᾽ ἢ τέθνηκεν Hom. 5 109. --- πάρος: 
sooner (μᾶλλον). --- σ᾽ ἀναστεναξω: 
even the emphatic σέ may suffer 
elision ; cf. vs. 708, 1069, 1085. 

658. πέπονθας ταὐτό: have you been 
affected in the same way? Cf. 6 τι 
(how) μὲν ὑμεῖς, ὦ ἄνδρες ᾿Αθηναῖοι, πε- 
πόνθατε ὑπὸ τῶν ἐμῶν κατηγόρων, οὐκ 
οἶδα (the beginning of Plato’s Apol- 
ogy). 

659. Although Pylades’ reply is 
meant literally (“ You are asking me 
a question that I cannot answer until 
you tell me how you have been af- 
fected yourself”), his words are at the 
same time evasive in tenor, since he 
knows well that what occupies his 
own mind (v. 672) is quite absent 

from Orestes’ thoughts. —ovx οἶδα: 


often an evasive or deprecatory 
phrase; cf. v. 546. — ἐρωτᾷς κτλ.: 
the main idea is in οὐκ ἔχοντα. 

660-663. os “Ἑλληνικῶς : how like 
a Greek indeed! Cf. ν. 540.— ἀνήρε- 
"ὁ : ἀνερωτᾶν. ---ἐν οἰωνοῖς σοφόν: cf. 
Κάλχας Θεστορίδης, οἰωνοπόλων bx’ 
ἄριστος Hom. A 69. 

666-668. οὐ γὰρ dv... ἐξεμάνθανεν : 
else she would never have undertaken to 
send the letter and to learn all this from 
us. The verbs are true imperfects; 
see on ἔπεμπεν. 335. — ὡς κτλ.: “as 
one who shared the lot, if all be well 
at Argos.” Concisely, ὡς κοινὰ πράσ- 
σουσαὔΑργει might have been said; or 
formally, ὡς καλῶς πράσσουσα, “Apyos 
εἰ καλῶς πράσσει. ΑΒ the line stands, 
there is a neat variation of form. — 
κοινὰ πράσσουσα : see On ἃ πράσσω V. 
692.—”Apyos: the position is to be 
noted.—el πράσσει: the indicative 
holds to the point of view of the main 
subject. Iphigenia said, in effect, 
κοινὰ πράσσω, “Apyos εἰ πράσσει καλῶς. 


114 


EYPIIIAOY I®ITENEITA. 


ΠΥΛΑΔΗΣ. 


ἔφθης με μικρόν: ταὐτὰ δὲ φθάσας λέγεις, 


670 


πλὴν ἕν: τὰ yap τοι βασιλέων παθήματα 


Ψ - “" 
ἴσασι πάντες, ὧν ἐπιστροφή τις ἦν. --- 


ἀτὰρ διῆλθον χἅτερον λόγον τινά. 


ΟΡΕΣΤΗΣ. 


3 3 Ν Ν \ ¥ x , 
τίν᾽; εἰς TO κοινὸν Sods ἄμεινον av μάθοις. 


ΠΥΛΑΔΗΣ. 


3 Ν Ψ lal , ε “A , 
αἰσχρὸν θανόντος σοῦ βλέπειν ἡμᾶς φάος" 

AL 8oay A \ A A 
675 κοινῇ T ἔπλευσα, δεῖ pe καὶ κοινῇ θανεῖν. 


669-671. Before unburdening his 
heart, Pylades makes a brief response 
to Orestes’ words; and we note that 
Pylades is, for the time being, less in- 
clined than Orestes to be pleased with 
the priestess. 

669. “You have got the start of 
me a little, and in so doing you say 
just what I should myself have said.” 
— ἔφθης, φθάσας : repetition like that 
in vs. 518, 522. 

670 f. τὰ γάρ τοι κτλ. : “ what hap- 
pens to princes is known to all who 
were in the least conversant with 
events.” Hence it does not follow 
that the woman is herself really a 
native of Argos, because she is inter- 
ested in Agamemnon. This is the 
one exception (πλὴν ἕν) that Pylades 

‘takes to his companion’s remarks. — 
“ἐπιστροφή : cf. ἐπεὶ καὶ κεῖνος ἐπίστρο- 
gos ἦν ἀνθρώπων Hom. a 177 (“Odys- 
seus had dealings with the world”). — 
ἦν: the past tense by assimilation to 
the time implied in τὰ παθήματα (think- 
ing of Agamemnon); ¢f. v. 262. 

672. There is another consideration, 
however, that I have had in mind.— 
διῆλθον : the aor. refers to the mo- 


ment when Pylades heard the words 
uttered by Orestes at vs. 603 ff. — 
χἅτερον : καὶ ἕτερον : καί, besides what 
he thought in consonance with vs. 
660 Τῇ, --- λόγον : see on v. 578. 

673. “Out with it, and let’s see if I 
can help you!” is the thought, called 
forth by the grave and troubled air 
with which Pylades had spoken line 
672.— εἰς τὸ κοινὸν δούς: κοινώσαξ, 
sc. αὐτόν. Two heads are better than 
one.’ 

Vs. 672 f. are transitional; likewise 
vs. 657 f. Perspicuity requires that 
all abruptness should be avoided, as 
the significant masses of the dramatic 
discourse succeed one another. 

674. The rhythm is heavy when, as 
here, a pause is allowed to divide a 
trimeter in halves. This is usually 
avoided, but sometimes permitted for 
special effect; cf ἀτιμίας μὲν οὔ, mpo- 
μηθίας δὲ σοῦ Soph. Hi. 1036. Inv. 
673 the effect is modified by the cae- 
sura in the first foot {τίν᾽ ;). 

675. The sentence is anacoluthous, 
as far as the particles τέ and καί are 
concerned, for they cannot be correl- 
ative, with the present arrangement 


IPHIGENIA AMONG THE TAURIANS. 


115 


\ 7 \ \ , , 
και δειλίαν yap και KQKYNV ΚΕΚΤΉσοΟμαι 


»ν id 5 5 , , 
Ἄργει τε Φωκέων T ἐν πολυπτύχῳ χθονί, 


δόξω δὲ τοῖς πολλοῖσι, πολλοὶ γὰρ κακοί, 


δ A , > > > ” ΄ 
προδοὺς σεσῶσθαί σ᾽ αυτος εἰς οἰκοὺς μονος, 


680 


“ἡ > ὃ ’ὔ +N A“ ὃ , 
y «K ε βευσας ἐπι νοσουσι OWMLAG LV 


cor / lal , Ψ 
ῥάψαι μορον σοι σὴς TUPAVVLOOS χάριν, 


ἔγκληρον ὡς δὴ σὴν κασιγνήτην γαμῶν. 


n° > ΝΥ \ 9 5 , ¥ 
ταῦτ᾽ οὖν φοβοῦμαι καὶ du αἰσχύνης ἔχω, 


> » ao. oO > δ ἴω , , 
κοὺκ ἔσθ᾽ ὅπως οὐ χρὴ συνεκπνεῦσαί μέ σοι 


685 καὶ συσφαγῆναι καὶ πυρωθῆναι δέμας, 


of the words. As the line stands, 
there is asyndeton, owing to the in- 
trusion of δεῖ (which is placed first 
after the pause for emphasis), and καί 
means also. The sense and point, how- 
ever, are the same as with correlation, 
and τέ is not otiose. Some of the 
commentators of Euripides appear 
not to understand that the finest 
rhetoric refuses complete allegiance 
to laws of formal structure. 

676. kal... Kal: correlative. — 
κάκην: not the adjective; obs. the 
accent. — κεκτήσομαι κτλ.: 7 shall have 
earned the name of. Cf. τὴν δυσσέ- 
βειαν εὑσεβοῖσ᾽ ἐκτησάμην Soph. 
Ant, 924. 

678. πολλοὶ γὰρ κακοί: 1.6. “ and 
judge others by themselves.” 

679. Observe the free placing of the 
enclitic σέ, which is the obj. of προδούς. 
προδούς and σεσῶσθαι, likewise σέ and 
αὐτός, are thus brought into imme- 
diate juxtaposition. Enclitic pronouns 


may be tucked away almost anywhere, 


since there is rarely any possible am- 
biguity as to the meaning, and thus 
become valuable for rhetorical pur- 
poses. — σεσῶσθαι εἰς οἴκους : cf. V. 
1068. The sigmatism here is rather 
strong. 


680 f. ἢ καὶ... σου: or even to have 
taken advantage of the troubles of thy 
house and devised death for thee. The 
literal meaning of ἐφεδρεῦσαι and 
ῥάψαι must be noted, though not easy 
to preserve in translating. —éml: see 
on vy. 482. Here it repeats ἐπί in 
comp. (épedpevoas). 

682. “ Heiress, forsooth, as thy sis- 
ter would be, whom I have to wife.” 
— ἔγκληρον: predicative, and em- 
phatically placed as the finger-point 
of the slanderers (vy. 678). Electra 
would become éy«Anpos by the death 
of Orestes. — ὡς δή : introduces sub- 
jectively (and with irony) the view 
of the πολλοί. ---- γαμῶν : pres. with the 
sense of a pf., like φεύγω v. 512, νικᾶν, 
etc. Pylades was already married to 
Electra; see vs. 915, 922. At the 
close of the Electra, this alliance is 
enjoined upon Orestes by the Dios- 
curl: Πυλάδῃ μὲν Ἠλέκτραν δὸς ἄλοχον 
εἰς δόμους, σὺ δ᾽ ἴΑργος ἔκλιπε El. 1249. 

683. ταῦτα δι᾽ αἰσχύνης ἔχω : ταῦτ᾽ 
αἰσχύνομαι, αἰσχρὰ ἡγοῦμαι. Cf. ἐγώ σε 
δ οἴκτου χεῖρα θ᾽ ἱκεσίαν ἔχω Hee. 
801 (1... οἰκτείρω). This line is resump- 
tive (οὖν). δι᾽ αἰσχύνης ἔχω repeats 
αἰσχρόν v. 674, the first word of the 
speech. 


116 


BYPITMIAOY ΙΦΙΤΈΝΕΙΑ. 


φίλον γεγῶτα καὶ φοβούμενον ψόγον. 


- 


ΟΡΕΣΤΗΣ. » ὁ 


ὺς 


εὔφημα φώνει: τἀμὰ δεῖ φέρειν Kaka: 


ἁπλᾶς δὲ λύπας ἐξόν, οὐκ οἴσω διπλᾶς. 


aA Ἂς Ν XN 9 ,ὕ ὕ 
Oo yap συ λυπρὸν κἀπονείδιστον λέγεις, 


nw? ΕἾ ς A » A > 3 ἃ 
690 ταῦτ εστιν μιν, EL OE συμμοχθοῦντ εμοι 


KTEV@* τὸ μὲν γὰρ εἰς ἔμ᾽ οὐ κακῶς ἔχει, 


’ 3 ἃ ’ Ν A ἴδω ie 
πράσσονθ᾽ a πράσσω πρὸς θεῶν, λιπεῖν βίον. 


Ν 3 », 7 > > ’ 5 3 A 3 » 
σὺ ὃ od Buds T {Εἰ καθαρά T, OV νοσουντ, EXELS 


μέλαθρ᾽, ἐγὼ δὲ δυσσεβῆ καὶ δυστυχῆ. 


695 


σωθεὶς δὲ παῖδας ἐξ ἐμῆς ὁμοσπόρου 


’ ἃ “5 , ὃ , > » 
ΚΤΉσαμοενος, ye @WKA σοι ALA PT EXEL, 


» rer 2580s aA , ayy 209 ἦν ΄ 
ΟνΟομα 1 ἐμοῦ YEVOLT αν, οὐὸ Q7TQALS δόμος 


686. Because I love you, and because 
I fear the blame. — yeyora: ὄντα. 

687. εὔφημα φώνει: be silent! The 
gratuitous sacrifice of a second life 
is to Orestes an impious thought. — 
τἀμὰ «TA.: this is made clear by the 
following line. Orestes must bear his 
own fate, —that he cannot help, — 
but the death of Pylades would be a 
needless addition to his woe. 

688. But while free to bear but a sin- 
gle sorrow, a double one I will not endure. 
—étov: sc. φέρειν, from οἴσω. For 
the acc. abs., see G. 278, 2; H. 978. 

690. ταῦτ᾽ ἔστιν ἡμῖν: “all that 
falls on me,” viz. τὸ λυπρὸν καὶ τὸ ἐπ- 
ονείδιστον. 

691 f. τὸ εἰς ἐμέ : as regards myself: 
adverbial ΡΉΓΆΒ8. --- οὐ κακῶς ἔχει: 
the subj. is λιπεῖν βίον (sc. we).— πράσ- 
σονθ᾽ ἃ πράσσω: faring as I do fare; 
see on ὄλωλεν ὡς ὄλωλε Vv. 575.—a: 
acc. of the internal obj., instead of 
an adverb (εὖ, κακῶς πράσσειν). Cf. 
v. 668, πολλὰ... δυστυχῆ τε πράσσει 


Aesch. Sept. 838. See 6. 159, n. 2; 
H. 716 b. 

695-698. σωθεὶς δὲ... κτησάμενος : 
your life once saved — then, in case you 
have children, etc. σωθείς is subordi- 
nate to κτησάμενος, which, in its turn, 
forms the condition to what follows. 
—dvopa... γένουτ᾽ ἄν : my name will 
be continued. This is meant literally. 
Pylades would name his son Orestes, 
and regard himself as perpetuating 
the line of Agamemnon, not that of 
Strophius. Cf καὶ τῷ ἐμῷ παιδίῳ ἐθέ- 
μην τὸ ὄνομα τὸ ἐκείνου, ἵνα μὴ ἀνώνυ- 
μος ὃ οἶκος αὐτοῦ γένηται Isaeus ii. 36, 
said by the adopted son of Menecles 
(ἐκείνου), who had died childless. The 
structure of the whole passage is ana- 
coluthous; regularly a verb in the 2d 
pers. should have followed κτησάμενος. 
See on v. 947. 

697 f. τὲ... οὐδέ: inexact correl- 
ation, as so often occurs with neg. 
particles; cf. πρὶν μὲν yap αὐτοῖν ἦν 
ἔρις, Κρέοντι τε | θρόνους ἐᾶσθαι μηδὲ 


at Oe 
Pen tL, 


IPHIGENIA AMONG THE TAURIANS. 117 


πατρῷος οὑμὸς ἐξαλειφθείη mor av. 


3 3 ἊΨ Ν ~ \ / » l4 
ἀλλ ike Kat Cn καὶ δόμους OLKEL πατρός. 


ὯΝ ὅταν δ᾽ ἐς Ἑλλάδ᾽ ἵππιόν τ᾽ ΓΑργος μόλῃς, 


. πρὸς δεξιᾶς σε τῆσδ᾽ ἐπισκήπτω τάδε. 


ἢ τύμβον τε χῶσον κἀπίθες μνημεῖά μοι, 
καὶ δάκρυ᾽ ἀδελφὴ καὶ κόμας δότω τάφῳ. 


ἄγγελλε δ᾽ ὡς ὄλωλ᾽ ὑπ᾽ ᾿Αργείας τινὸς 


105) Ὑ νπικὸς ἀμφὶ βωμὸν ἁγνισθεὶς φόνῳ. 


Be . Kal μὴ προδῷς μου τὴν κασιγνήτην ποτέ, 


τ ἔρημα κήδη καὶ δόμους ὁρῶν πατρός. 


TA, καὶ χαῖρ᾽" 
4 


f 


Hay yap φίλτατον σ᾽ ηὗρον φίλων, 


4) ὦ συγκυναγὲ καὶ συνεκτραφεὶς ἐμοί, 


χραίνεσθαι πόλιν Soph. Oed. Col. 367. 
Here, οὐδέ results from a feeling that 
the previous clause was in effect a 
simple negation (οὐκ ἂν ἀφανισθείη τὸ 
ὄνομαν, while τέ was said as if merely 
καὶ δόμος μένοι Were to follow. — ἄπαις: 
predicative after ἐξαλειφθείη : “be ef- 
faced through lack of issue.” Orestes 
turns the argument of Pylades in vy. 
682 very effectually against him. 


699. ἕρπε: go. See on ἕρπει γν. 477. 
- δόμους πατρός: viz. the house of 
Agamemnon. 


700 f. ἵππιον : cf.”Apyos és ἱππόβοτον 
Hom. Tf 75, aptum dicet equis 
Argos ditisque Mycenas Hor. 
Carm.i. 7, 9. Here, there is pathos 
in the ornamental epithet; cf the ef- 
fect of the epithets in vs. 635-635. — 
τῆσδε: he takes the hand of Pylades. 
- ἐπισκήπτω τάδε: 7 charge thee thus. 
ἐπισκήπτειν is the regular word for a 
dying man’s injunction; see especially 
Lysias xiii. 41,42. Usually with dat. 
of the person, here accusative. 

702. τύμβον: in this case a ceno- 
taph. — κἀπίθες : καὶ ἐπίθες. 

703. Cf vs. 172 f., and the note. 


704 f. Said bitterly: death at the 
altar, and at ἃ woman’s hands. There 
is one pause in the distich, viz. after 
γυναικός. --- ἀγνισθεὶς φόνῳ : consecrated 
to a bloody death. 

707. ἔρημα: predicative, and in 
sense connected with both objects ; 
“beholding desolation in the house 
of my father and its alliances.” To 
the κῆδος formed by his union with 
Electra, Pylades must prove true (μὴ 
προδῷς v. 706). 

708-710. “And now, farewell! — 
my friend of friends I found in thee 
— thou sharer of my hunting-days, 
and all my young days besides, bearer 
of many a burden of my woes.” -- ὦ 
συγκυναγέ: the two had hunted to- 
gether Φωκέων ἐν πολυπτύχῳ χθονί. 
That was where Odysseus, in his 
youth, killed the wild boar, and got 
the scar on his leg, τήν ποτέ μιν σῦς 
ἤλασε λευκῷ ὀδόντι | Παρνησ όν δ᾽ éa- 
θόντα μετ᾽ Αὐτόλυκόν τε καὶ vias Hom. 
τ 393. Goethe had our passage in 
mind when he wrote: ‘Wenn wir zu- 
sammen oft dem Wilde nach | Durch 
Berg’ und Thaler rannten’ Jphigenie 


118 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


a 


, 9 3 X\ ἴω 5 A 5», A 
710 ὦ πόλλ ἐνεγκὼν τῶν ἐμὼν ἄχθη κακῶν. 


ἡμᾶς δ᾽ ὁ Φοῖβος μάντις ὧν ἐψεύσατο" 


τέχνην δὲ θέμενος ὡς προσώταθ᾽ “Ἑλλάδος 


3 , 3 3 A Aw 4, , 
ἀπήλασ αἰδοῖ Των πάρος μαντευματων. 


a 4 3 9 Ν Ἀ 3 a Ν \ ’ 
ᾧ πάντ᾽ ἐγὼ δοὺς τἀμὰ καὶ πεισθεὶς λόγοις, 


715, μητέρα κατακτὰς αὐτὸς ἀνταπόλλυμαι. 


ΠΥΛΑΔΗΣ. 


» tf Ἁ , , 
ἔσται τάφος σοι, καὶ κασιγνήτης λέχος 


3 aK ’ > , 3 le 3. dhs, 
οὐκ ἂν προδοίην, ὦ τάλας, ἐπεί σ᾽ ἐγὼ 
θανόντα μᾶλλον ἢ βλέπονθ᾽ ἕξω φίλον. 
> Ν p. “A “ > 3 Le 4 ’ 
ἀτὰρ τὸ τοῦ θεοῦ σ᾽ οὐ διέφθορέν γέ πω 


, 4 > > Ν ν Ψ' 
720 μάντευμα, καΐτοι y ἐγγὺς ἐστηκας φόνου. 


ἀλλ᾽ ἔστιν ἔστιν ἡ λίαν δυσπραξία 


λίαν διδοῦσα μεταβολὰς, ὅταν τύχῃ. 


ii. 1, said by Orestes to Pylades. 


συνεκτραφείς is also finely expanded . 


by Goethe in the same scene:— 
the life together in Phocis, when his 
cheery cousin flitted about the fate- 
laden Orestes, ‘Gleich einem leichten, 
bunten Schmetterling | Um eine dun- 
kle Blume.’— ὦ πόλλ᾽ ἐνεγκὼν τῶν 
ἐμῶν ἄχθη κακῶν: note the vocaliza- 
tion, the solemn roll of the w-sound. 
Cf. τῶν σῶν Te κἀμῶν οὐκ ὕπωπ᾽ ἐγὼ 
κακῶν Soph. Ant. 6, μέγιστα πάντων ὧν 
ὕπωπ᾽ ἐγὼ κακῶν τα. El. 108, ‘Where 
‘rolls the Oregon, and hears no sound| 
Save his own dashings.’ 

11. ἡμᾶς δέ: as for me. —payres 
av: cf. v.574. μάντις had come to be 
an unpopular title at the time this 
play was written.— Orestes invaria- 
bly comes around to his sceptical 
grievances, and Pylades quite as in- 
variably fails to be infected. 

712. τέχνην θέμενος : τεχνησάμενος. 
Cf. the reproach in v. 77. Orestes 


here charges the oracle with finally 
contriving to put him out of the 
way, to save its credit, the first re- 
sponse, commanding matricide, hay- 
ing proved a mistake. 

714. ᾧ.... τἀμά : committing to him 
my αἰΐ. --- λόγοις : sc. αὐτοῦ, from @. 

716-718. A sepulchre thou shalt have, 
and to thy sister I will ne’er prove false, 
unhappy man, etc. The arguments of 
Orestes were unanswerable, and Py- 
lades, like a sensible man, does not at- 
tempt to answer them.— ἕξω φίλον : 
will I hold thee dear. The hyperbole 
in this line is perfectly natural. 

719 f. For the spirit of Pylades’ 
words, cf. v. 105. — καίτοι κτλ. : not a 
dependent clause, since καίτοι ἕστηκας 
cannot be grammatically equiv. to 
καίπερ ἑστηκώς ΟΥ̓ ἑστῶτα, in classic 
Greek. Translate, however: “though 
near indeed to death thou standest.” 

721. ἔστιν... διδοῦσα : δίδωσι. See 
GMT. 108, ν. 6. The periphrasis. is 


IPHIGENIA AMONG THE TAURIANS. 


119 


ΟΡΕΣΤΗΣ. 


σίγα: τὰ Φοίβου δ᾽ οὐδὲν ὠφελεῖ μ᾽ ἔπη" 
γυνὴ γὰρ noe δωμάτων ἔξω περᾷ. 


ΙΦΙΓΕΝΕΙΑ. Χ. 


725 


ἀπέλθεθ᾽ ὑμεῖς καὶ παρευτρεπίζετε 


τἄνδον μολόντες τοῖς ἐφεστῶσι σφαγῇ. 


δέλτου μὲν aide πολύθυροι διαπτυχαΐί, 


ἕένοι, πάρεισιν " ἃ δ᾽ ἐπὶ τοῖσδε βούλομαι 


3 , 9 9590. A prey 3 ΄, 5“. ας 
ακουσατ * οὐδεὶς αὐτος εν TOVOLS T avy) Pp 


730 


4 Ν Ν ’ 5 ’ ’, 
ΟΤαν TE πρὸς TO θάρσος εκ φόβου ΠΕσΉ-: 


ἐγὼ δὲ ταρβῶ μὴ ἀπονοστήσας χθονὸς 


here employed for the sake of begin- 
ning with the energetic formula ἔσ- 
τιν ἔστιν, Which occurs elsewhere, and 
was esp. liked by Demosthenes. — 
ὅταν τύχῃ: sc. δοῦσα. This limita- 
tion makes it clear that the whole 
saying is general and not particular. 
— “There is, there 7s in the worst of 
luck the best of chances for a happy 
change, if change should be.” — Note 
the repetition of λίαν. 

723 f. Iphigenia re-enters, and to 
Orestes her appearance is a sign con- 
firmatory of his own judgment of the 
god.—otya: say no more. See on 
v. 488. ---ἔξω περᾷ: cf. v. 1217. 

725 f. Addressed to the guards, 
who again withdraw into the temple. 

727. δέλτου πολύθυροι διαπτυχαί: 
the letter’s leafy folds; a graphic peri- 
phrasis for δέλτος. Iphigenia is all 
bound up in this letter. — The Greeks 
said θύραι of folded tablets, as we say 
‘folding-doors.’ The Mss. of Eurip- 
ides here give πολύθρηνοι, against sense 
and metre, but the true reading πολύ- 
θυροι has been recovered from Aris- 
totle, Rhet. iii. 6, who quotes v. 727 


to illustrate the poetic ‘pluralis 
maiestatis.’ The ancients made 
their quotations from memory, and in 
most cases of a disagreement of texts, 
like the above, the writer who quotes 
is wrong and the Mss. of the author 
quoted are right. Thus Diodorus, in 
the passage cited on v. 626, gives χθο- 
νός in place of πέτρας, quoting the line 
of Euripides. 

728-730. ἐπὶ τοῖσδε: next. — ἐν πό- 
νοις τε: ὅταν τ᾽ ἐν πόνοις ἢ. --- θάρσος : 
expresses the state of mind wherein 
one has nothing to fear, as often 
the imv. θάρσει is virtually negative 
(“fear not!”).—méoy: for πίπτειν of 
passing into a new state, ef. the word 
περιπέτεια (566 p. 16).—In English 
we should be disposed to invert the 
order of the Greek sentence. “No man 
is the same (1.6. 580 scrupulous to fulfil 
his obligations) after escaping from 
alarm, as when in the midst of dan- 
ger.” 

731-733. ἐγὼ δέ: and so now I, 
Personal application of the general 
truth just stated (cf v. 490). The 
weight of ras ἐμάς and τήνδε is due to 


120 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. . 


A 3 SQA Ν 3 Ἂν 3 Ν 
θῆται παρ᾽ οὐδὲν τὰς ἐμὰς ἐπιστολὰς 


ὁ τήνδε μέλλων δέλτον εἰς “Apyos φέρειν. 


ΟΡΕΣΤΗΣ. 


4 i) , lA 5 ἴω , 
τί δῆτα βούλει ; Tivos AUNKAVELS πέρι; 


ΙΦΙΓΈΕΝΕΙΑ. 


735 ὅρκον δότω μοι τάσδε πορθμεύσειν γραφὰς 
πρὸς “Apyos οἷσι βούλομαι πέμψαι φίλων. 


* OPESTHS. 


ἜΣ 3 , “A \ 9 Ν , 
ἢ κἀντιδώσεις τῷδε τοὺς αὐτοὺς λόγους ; 


IPITENEIA. 


τί χρῆμα δράσειν ἣ Ti μὴ δράσειν ; λέγε. 


ΟΡΕΣΤῊΣ. 


ἐκ γῆς ἀφήσειν μὴ θανόντα βαρβάρου. 


IPITENEIA. 


740 δίκαιον εἶπας: πῶς γὰρ ἀγγείλειεν ἂν ; 


ΟΡΕΣΤΗΣ. 


ἢ καὶ τύραννος ταῦτα συγχωρήσεται; 


the same reference. — μὴ ἀπονοστή- 
owas: pronounced as one word (Η. 78). 
— Lest, on his safe arrival home from this 
land, etc. — θῆται παρ᾽ οὐδέν : map’ oAl- 
γον ποιήσηται, περὶ οὐδενὸς ἡγήσηται. 

737. τοὺς αὐτοὺς λόγους : a like as- 
surance. τοὺς αὑτούς, merely to en- 
force the idea of perfect reciprocity 
(ἀντι-δώσει:). 

738 f. The infinitives depend upon 
ἀντιδώσεις λόγους Vv. 737, in the same 
const. of indirect discourse as at v. 735. 

740. δίκαιον εἶπας : “a reasonable 


stipulation.” — πῶς yap: how else? — 
Noteworthy is the cleverness that 
everywhere distinguishes Iphigenia. 
There is nothing of the hebetude 
which is apt to come from learning 
to read and write. — Orestes seems to 
have been over-anxious to assure him- 
self that the letter is really going to 
be sent. 

741. ἡ Kal: καί, really; in v. 787, 
also. — τύραννος : Orestes has al- 
ready been presented to Thoas, vs. 
899 f. Differently the pl., v, 109, 


ae fen I 


IPHIGENIA AMONG THE TAURIANS. 121 


IPITENEIA. 


, 
Val. 


/ 3 Ἂ Ἂς 3 ’ “ 
πείσω σφε, καὐτὴ ναὸς εἰσβήσω σκάφος. 


ΟΡΕΣΤΗΣ. 


» \ > » >» ° “ 9 , 
ὄμνυ: σὺ δ᾽ ἔξαρχ᾽ ὅρκον ὅστις εὐσεβής. 


ΙΦΙΓΕΝΕΙΑ. 


δώσω, λέγειν χρή, τήνδε τοῖσι σοῖς φίλοις. 


ΠΥΛΑΔΗΣ. 


745 τοῖς σοῖς φίλοισι γράμματ᾽ ἀποδώσω τάδε. 


IPITENEIA. 


> Ν \ , ’ » , 
καγω σε σώσω κυανεας ἔξω πέτρας. 


ΠΥΛΑΔΗΣ. 


“9 > > / 7.» ν ~ 
TW ουν ἐπομνυς τοισίὃ OpPKLOV θεῶν ; 


IPITENEIA. 


¥ hag. Bhs \ » 
Ἄρτεμιν, ἐν ἧσπερ δώμασιν τιμὰς ἔχω. 


ΠΥΛΑΔΗΣ. 


> ὩΝ, 3 ¥ , > > “ \ , 
ἐγὼ δ᾽ ἄνακτά Ὑ ovpavov, σεμνὸν Δία. 


742. val: see on ν. 467. Iphigenia 
hesitates, apparently reflecting that 
the king will not be prevailed upon 
to release even one of the victims with- 
out reluctance. — καὶ... σκάφος : and 
will myself see your companion on board 
ship.—vads σκάφος : ναῦν, acc. of 
limit of motion ; for the primary obj. 
of the verb, sc. τόνδε. 

743. ‘Tu Pylades, iura; tu 
vero, Iphigenia, praei verba 
iurisiurandi cuiuslibet quod 
pium sit.’ 

744 f. τήνδε: she hands him the 
letter; cf. v. 701.— ἠἀποδώσω : ἀποδοῦ- 


vat is to deliver to the right person; 
cf. v. 791. 

746. πέτρας : see on Υ. 241. 

747. τίνα κτλ.: ἐπομνύναι ὅρκιον 
(pred.) θεόν τινι is to invoke the name 
of a god as witness or guardian of 
some oath taken, the acc. (riva;) of 
the god sworn by, and the dat. (τοισίδε) 
of the substance of the oath (after ἐπί 
in comp.). We should say “In the 
name of what divinity do you swear 
this thing ?” 

749. yé: because Pylades feels that 
he is outbidding Iphigenia. The lord 
of heaven itself. 


122 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ΙΦΙΓΕΝΕΙΑ. 


5 > 5 +. ie ν 9 4 > , 
750 εἰ δ᾽ ἐκλιπὼν TOV ορκον ἀδικοίης ἐμέ; 


ΠΥΛΑΔΗΣ. 


¥ » 
ανόοστος ELYV. 


4 de 4 Ν , , 
TL O€ OV, μὴ σωσασα με; 


IPITENEIA. 


μήποτε Kat “Apyos ζῶσ᾽ ἴχνος θείην ποδός. 


ΠΥΛΑΔΗΣ. 


ἄκουε δή νυν ὃν παρήλθομεν λόγον. 


ἸΦΙΓΕΝΕΊΙΑ. 


9 > ¥ ΕΓ Fy ey A ¥ 
ἀλλ᾽ οὔτις ἔστ᾽ ἄκαιρος, ἣν καλῶς ἔχῃ. 


ΠΥΛΑΔΗΣ. 


755 ἐξαίρετόν μοι δὸς τόδ᾽, ἥν τι ναῦς πάθῃ, 


x7 δέλτος ἐν κλύδωνι χρημάτων μέτα 


3 Ν , “~ > 3 4 ’ 
ἀφανὴς γένηται, σῶμα δ᾽ ἐκσώσω μόνον, 


\ Y > , ,» 
TOV OpPKOV ειναι τόνδε μῆΚΕΙ 


ἔμπεδον. 


ISITENEIA. 


ἀλλ᾽ οἶσθ᾽ ὃ δράσω; πολλὰ yap πολλῶν κυρεῖ. 


750-752. The ceremony is con- 
cluded with the usual self-imprecation 
in case of violating the covenant (κατ᾽ 
ἐξωλείας ὀμνύναι) : εἰ ἐπιορκῶ, ἐξώλης 
ἀπολοίμην. Cf. ἐπειδὴ δὲ ὥμοσεν ἐξώ- 
λειαν ἑαυτῷ καὶ τοῖς παισὶν ἐπαρώμενος 
Lys. xii. 10. -- εἰ. .. ἀδικοίης ἐμέ: 
the wish ἄνοστος εἴην forms the apod- 
osis. This might have been antici- 
pated in the form of the question; 
cf. τί δ᾽ ὅρκῳ τῷδε wh μμένων πάθοις; 
(“ What do you hope to suffer? ”’) 
Med. 1584. ---τί δὲ ov: sc. ἐπαρᾷ σαυτῇ; 
(εὔχει παθεῖν) .---μἤἥποτε κτλ.: amounts 
to precisely the same thing as Pyla- 
des’ ἄνοστος εἴην. - 


753 f. Transitional lines. A new 
head of discourse begins here. — 
ἄκαιρος : said with reference to παρ- 
ἤλθομεν. The line has the air of a 
proverb. ‘A good remark is always in 
season.’ 

755-758. ἐξαίρετον: exception, 
though in the Greek an adj.— qv τι 
ἐνν πάθῃ : εἴ τι πάθοι, euphemistic for- 
mula; if anything should happen to the 
ship. —xpynparev μέτα : together with 
everything on board; so that no exer- 
tions would avail to save the letter. 
- ἔμπεδον : binding. ( 

759-761. πολλὰ πολλῶν κυρεῖ: pro- 
verbial. ‘Much said much won.’ κυ- 


͵ 


IPHIGENIA AMONG THE 


TAURIANS. 123 


> , bs] ale 5 , nw 
760 τἀνόντα κἀγγεγραμμέν᾽ ἐν δέλτου πτυχαῖς 
λόγῳ φράσω σοι πάντ᾽ ἀναγγεῖλαι φίλοις. 


ἐν ἀσφαλεῖ γάρ. 


ἣν μὲν ἐκσώσῃς γραφήν, 


αὕτη φράσει σιγῶσα τἀγγεγραμμένα * 

“ἡ > 5 , ’ » 5 ~ / 

ἣν δ᾽ ev θαλάσσῃ γράμματ᾽ ἀφανισθῇ τάδε, 
765 τὸ σῶμα σώσας τοὺς λόγους σώσεις ἐμοί. 


K 


ΠΥΛΑΔΗΣ. 


καλῶς ἔλεξας τῶν τε σῶν ἐμοῦ θ᾽ ὕπερ. 

, > “ \ ’ > 5 Ν Ψ 
σήμαινε δ᾽ ᾧ χρὴ τάσδ᾽ ἐπιστολὰς φέρειν 

Re ἂν Y ‘ , , , 
πρὸς Apyos o τι τε χρὴ κλύοντα σου λέγειν. 


IPITENEIA. 


»ν > 3 / \ > / 

ἀγγελλ᾽ ᾿Ορέστῃ, παιδὶ τἀγαμέμνονος : 
770 ἡ ᾽ν Αὐλίδι σφαγεῖσ᾽ ἐπιστέλλει τάδε 

A > > , ἴω 5 “ » » ἴων 5» » 

ζῶσ᾽ ᾿Ιφιγένεια, τοῖς ἐκεῖ δ᾽ οὐ ζῶσ᾽ ἔτι. 


ρεῖν is a poetic synonym of τυγχάνειν. 
- τἀνόντα Kayyeypappeva: τὰ ἐνόντα 
καὶ ἐγγεγραμμένα (couplet), the contents 
that are written there. —Xoyw: by word 
of mouth.—mwavra: const. with what 
follows. — ἀναγγεῖλαι : ἀπαγγεῖλαι, 
denoting purpose. 

762-765. ἐν ἀσφαλεῖ yap: sc. ἐστί. 
“Then we have a sure thing,” ex- 
plained by what follows (ἣν μὲν... 
ἣν δὲ xrA.), where the asyndeton is to 
be noted. For the adverbial phrase 
with ἐν and adj., cf. ἐν καλῷ εἰμές 
Theocr. xv. 73, ἐν καλλίονι Dem. xiv. 
28; with substantive, ἐν ἡδονῇ v. 494, 
ἐν παρέργῳ V. 516; other examples are 
more familiar, as ἐν κοινῷ, ἐν μέσῳ, etc. 
—aitry: ἥδε, deictic and emphatic as 
contrasted with the bearer of the 
letter. 

765. Notice the sigmatism. The 
stock example is ἔσωσά σ᾽ ὡς ἴσασιν 
Ἑλλήνων ὅσοι Med. 470, ridiculed by 


the comic poets, one of whom offered 
thanks for being saved ἐκ τῶν σῖγμα 
τῶν Εὐριπίδου. Cf. ‘Which touching 
but my gentle vessel’s side, | Would 
scatter all her spices on the stream, 
| Enrobe the roaring waters with my 
silks’ Shak. Merch. of Ven.i.1. See 
vs. 374-877, 668, 679-681. — σῶμα 
σώσας: σῶμα σῶσαι was a familiar 
alliterative saying; ο ὃ 8 ἀγαπήσειν 
με ἔφασκεν, εἰ τὸ σῶμα σώσω (‘saved 
my skin’) Lys. xii. 11. 

766. τῶν σῶν: 1.6. σεαυτῆς, nom. 
τὰ σά. 

768. κλύοντά σου: from you; the par- 
ticiple is superfluous in English. 

770 f. The beginning of the epistle, 
which is continued (with interrup- 
tions) in the direct form as far as v. 
779 COpéora), and again in an indirect 
form vs. 783-786 (alav).— τάδε : viz. 
κόμισαί με κτλ. vs. 744 ff. — τοῖς ἐκεῖ: 
dat. of reference (6. 184, 5; Η. 771). 


124 


ΟΡΕΣΤΗΣ. 


a nf > 3 ’ὔ ὥς ὩΣ ν i 
ποῦ δ᾽ ἔστ᾽ ἐκείνη ; κατθανοῦσ᾽ ἥκει πάλι ; 


ἸΦΙΓΈΝΕΙΑ. 
ο . ἃ ἴω 7 » , 

no ἣν ὁρᾷς av: μὴ λόγοις ἔκπλησσέ με. --- 
, , oe eee νἉὕἤ > , \ θ A 

κόμισαὶ μ᾽ ἐς Apyos, ὦ σύναιμε, πριν Cavey, 


5 ’ὔ “A Ν , “ 
775 ἐκ βαρβάρου γῆς καὶ μετάστησον θεᾶς 
» > 7? Ὁ , Ν » 
σφαγίων, ἐφ᾽ οἷσι ξενοφόνους τιμὰς ἔχω. 
ΟΡΕΣΤΗΣ. 
Πυλάδη, τί λέξω; ποῦ ποτ᾽ ὄνθ᾽ ηὑρήμεθα ; 
IDITENEIA. 
λ ey 3 , , ΄, 
ἢ σοῖς ἀραία δώμασιν γενήσομαι, 
Ὀρέσθ᾽, -- ἵν᾽ αὖθις ὄνομα δὶς κλύων μάθῃς. 
ΟΡΕΣΤΗΣ. 
5 , 
ὦ θεοί. 
ΙΦΙΓΈΝΕΙΑ. 
780 τί τοὺς θεοὺς ἀνακαλεῖς ἐν τοῖς ἐμοῖς ; 


773. ἥδ᾽ ἣν ὁρᾷς σύ: sc. ἔστ᾽ ἐκείνη. 
Cf. ὅδ᾽ εἴμ᾽ ἐγώ σοι κεῖνος Soph. Phil. 
201. --- λόγοις ἔκπλησσέ με: be dis- 
turbing me with interruptions ; cf. v. 240. 

774. κόμισαί pe: take me home; cf. 
v. 1362. 

776. ἐφ᾽ οἷσι κτλ.: wherein I hold 
the office of leading guests to slaughter ; 
cf. vs. 53, 748. 

777. τί λέξω: Orestes exclaims to 
this effect, because the words of Iphi- 
genia appear to be addressed directly 
to him where he stands. — ποῦ ποτέ 
KTA.: where in the world are we ὃ ---- ὄντε: 
supplementary participle with ηὑρή- 
μεθα, Which is best omitted in trans- 
lating. 


ΕΥ̓ΡΙΠΙΔΟΥ I@ITENEIA. 


778. Or I shall prove a source of 
curses to thy house. —dpata δώμασιν : 
alluding to the influence of the venge- 
ful, haunting spirit (ἀλάστωρ) of a 
wronged person. Of. καὶ σοῖς dpalay 
οὖσα τυγχάνω δόμοις Med. 608, μενῶ o 
ἐγὼ | καὶ νέρθεν dv ἀραῖος εἰσαεὶ Bapis 
Soph. Trach. 1201, τίς ἂν γονὰν ἀραῖον — 
ἐκβάλοι δόμων; Aesch. Ag. 1806. ae 8 

779. ᾿Ορέσθ᾽ : *Opéora. —tWwa... 
μάθῃς : still addressed to Pylades, bu 
not forming a part of the letter. 

780. Cf. Φ. ὦ θεοί. N. τί τοὺς θεοὶ 
ἀναστένων καλεῖς; Soph. Phil. 18 
θεοί, θεούς : pronounced as mon 
lables. —év τοῖς ἐμοῖς : in aff 


IPHIGENIA AMONG 


THE TAURIANS. 125 


OPESTHS. 


οὐδέν: πέραινε δ᾽" ἐξέβην yap ἄλλοσε. 


IPITENEIA. 


7: > 9 A > > ” wos ὦ, 
TAN OU) EPwWT MV GO εἰς ΑἸΙΟΊ ἀφίξεται. ---- 


λέγ᾽ οὕνεκ᾽ ἔλαφον ἀντιδοῦσά μου θεὰ 


¥ » the aa ¥ 57. 3.74 , 
Αρτεμις ἔσωσέ μ᾽, ἣν ἔθυσ᾽ ἐμὸς πατήρ, 


785 δοκῶν ἐς ἡμᾶς ὀξὺ φάσγανον βαλεῖν, 


ΕΝ > ν 
εἰς τήνδε δ᾽ ᾧκισ᾽ αἶαν. ---- αἵδ᾽ ἐπιστολαί, 


*Q> 3 \ > , > ξ΄ 
τάδ᾽ ἐστὶ Tav δέλτοισιν ἐγγεγραμμένα. 


ΠΥΛΑΔΗΣ. 


ee , Y wn DS 
ὦ ῥᾳδίοις ὅρκοισι περιβαλοῦσά με, 


/ > > / > > \ ’ / 
κάλλιστα δ᾽ ὀμόσασ᾽, οὐ πολὺν σχήσω χρόνον, 


XN » a , > > , 
790 τὸν ὃ ορκον ον κατωμοσ ἐμπεδώσομεν. 


ἰδού, φέρω σοι δέλτον ἀποδίδωμί τε, 


Ὀρέστα, τῆσδε σῆς κασιγνήτης πάρα. 


781. οὐδέν: evasive, like οὐκ οἶδα 
v. 546.— ἐξέβην γὰρ ἄλλοσε: “ my 
thoughts were elsewhere.” C/. rotor’ 
ἐξέβης λόγῳ; (“ Whither are your 
words wandering? ’’) Soph. Phil. 896. 

782. Questioning you, perchance, he 
will come to things scarce credible. Ores- 
tes will want to know how the dead 
has come to life again (kar@avoio’ 
ἥκει πάλιν), and here, Iphigenia says, 


_ is the miracle that explains it all (vs. 


783-786 ).—dmora: cf. vs. 642, 796. 

783-786. οὕνεκα: ὅτι. -- ἥν: has 
for its antecedent not the nearest 
word, but the prominent word of the 
preceding clause, viz. ἔλαφον. --- δο- 
κῶν... βαλεῖν: “fancying that he 


drove the keen blade into me.” For 


the aor. inf.,see on ἔδοξα... εἰσιδεῖν ν. 
44.— αἵδ᾽ ἐπιστολαί: this is the mes- 
sage. 


788-790. ὦ... ὀμόσασα: “0 thou 
layer of an easy oath on me, and 
happy in that which thou thyself 
hast sworn!” The elegant construc- 
tion of the voc. participle is much 
affected in the iambic trimeter; ef. 
vs. 17, 709 f., 800 f., 836. Its range 
is of course very limited in Eng- 
lish; ef. “Ὁ snatch’d away in beauty’s 
bloom! | On thee shall press no 
ponderous tomb.’ — Pylades, who of- 
fered the encouraging maxim Alay 
διδοῦσα μεταβολὰς κτλ. V. 722, has 
held his tongue during the revela- 
tion made in vs. 769-787. — περιβα- 
λοῦσα: περιβαλεῖν, here figuratively ; 
literally, vs. 796, 799. — κάλλιστα: 
καλλίστους Spkovs.—oX Yow: ἐπισχήσω. 
- ἐμπεδώσομεν : will make good; ef. 
ἔμπεδον v. 758. For the shift to the 
plural, see on vs. 348 f. 


126 


OPESTH. 
δέχομαι: παρεὶς δὲ γραμμάτων διαπτυχάς, 
τὴν ἡδονὴν πρῶτ᾽ οὐ λόγοις αἱρήσομαι. 


795 


Ψ : 8. 2.5 ἢ Ν / 
ὅμως σ᾽ ἀπίστῳ περιβαλὼν βραχίονι 
9 , > , , > 9 , 
εἰς τέρψιν εἶμι, πυθόμενος θαυμάστ᾽ ἐμοί. 
ΧΟΡΟΣ. 
Lz bated ΕῚ ’, ‘al “~ ᾿ / 
ξεῖν᾽, ov δικαίως τῆς θεοῦ τὴν πρόσπολον 


χραίνεις ἀθίκτοις περιβαλὼν πέπλοις χέρα. 


ΟΡΕΣΤΗΣ. 


800 


᾿Αγαμέμνονος γεγῶσα, μή μ᾽ ἀποστρέφου, 

» > 9 Ψ > Ae ae? vad 

ἔχουσ᾽ ἀδελφόν, ov δοκοῦσ᾽ ἕξειν ποτέ. 
ISIPENEIA. 

3 ’ 3 3 Ν Ν 5 »)Ἅ > , ig 

ἐγώ σ ἀδελφὸν τὸν ἐμόν; οὐ παύσει λέγων; 

Ν 3. 3 lal Ν ν , 

τὸ δ᾽ “Apyos αὐτοῦ μεστὸν ἥ τε Ναυπλία. 


793 f. δέχομαι: gracious accept- 
ance (‘Thank you’); cf πρόφρων δέ- 
xouat Hom. Ψ 047. --- παρεὶς. . . δια- 
πτυχάς : letting folded letters go. As he 
speaks, Orestes throws down the letter 
and advances toward the priestess to 
enfold her.—ypapparev διαπτυχάς: 
merely a periphrasis for γράμματα, 
δέλτον, as in v. 721. --- πρῶτα : as if he 
meant to read the letter afterwards. 
—ov λόγοις: not in words (i.e. but 
by deeds), said in opposition to γραμ- 
μάτων. 

195 f. ἐκπεπληγμένος : astonished 
though I am.—amlorw βραχίονι: is 
good ! 

The symmetry in vs. 783-797 de- 
serves notice, five lines to each of the 
three persons. 


EYPIDIAOY I®IDENEIA. 


ὦ φιλτάτη μοι σύγγον᾽, ἐκπεπληγμένος 


~ ᾿ σι ἣν 
ὦ συγκασιγνήτη τε κἀκ ταὐτοῦ πατρὸς 


798 f. See on vs. 940 f. It is the 
chorus’ part in tragedy to uphold 
propriety of every sort, and to intcr- 
pose in its behalf. Here even sanctity 
is invaded —a priestess of Artemis! 
-- περιβαλὼν πέπλοις χέρα: obs. the 
different const. with περιβαλεῖν in vs. 
788, 796. 

801. μή μ᾽ ἀποστρέφου : said as the 
priestess repels him with dignity. 

803. éyo oe... TOV ἐμόν: sc. ἔχω; 


. You my brother! If the two Greeks ae < 


had not been Orestes and Pylades 
they could hardly have played a bet- | 
ter game than the one they are play 
ing now, and Iphigenia was not the 
woman to be cozened by adventur TS. ; 
804. αὐτοῦ μεστόν : full of him; 1.6. 
he is πανταχοῦ in Argos (v. 568). Cf. 


IPHIGENIA AMONG THE TAURIANS. 127 


OPESTH2. 


3 » 5 3 nw , > / 4 
805 OUVK €OT €EKEL GOS, ὦ τάλαινα, συγγονος. 


IPITENEIA. 


ἀλλ᾽ ἢ Λάκαινα Tuvdapis σ᾽ ἐγείνατο; 


ΟΡΕΣΤΗΣ. 


Πέλοπος γε παιδὶ παιδός, οὗ ᾿κπέφυκ᾽ ἐγώ. 


IPITENEIA. 


4 , ¥ ~ , ? 
τι φής; εχέις Tl TOVOE μου TEKLLYPLOP ; 


OPESTHS. 


¥ ’, 5 ’ ’ 
EX@* TAT PWWV EK δόμων τι πυνθάνου. 


IPITENEIA. 


810 οὐκοῦν λέγειν μὲν χρὴ σέ, μανθάνειν δ᾽ ἐμέ. 


OPESTHS. 


λέγοιμ᾽ ἂν akon πρῶτον ᾿Ηλέκτρας τάδε: 


vy. 824, where φύγῃ ἐξεπίμπλαμεν 
νάπας points not so much to the num- 
bers of the fugitives as to their scat- 
tering in every direction. Similarly, 
πανταχῇ γὰρ ἄστεως | (ζητῶν νιν ἐξ é- 
πλησα ἴοη 1107. Soof Helen, πλή- 
σασα κλιμακτῆρας εὐσφύρου ποδός fel. 
1570 (not a reflection upon the size of 
her foot, but she was seen to step on 
every round of the ladder). Demos- 
thenes says of the traitors of his time: 


elt’ ἐλαυνομέν ων καὶ ὑβριζομένων καὶ 


τί κακῶν οὐχὶ πασχόντων, πᾶσ᾽ ἡ οἰκου- 
μένη μεστὴ γέγονεν xviii.48. There 
were plenty of them, to be sure, but 
the point is that they were οὐδαμοῦ 
kal πανταχοῦ. ---Ναυπλία: the port 
of Argos, here named only to expand 
the idea of wandering from place to 
place. : 

806 f. For the persons meant, cf. 


ys. 9--ὖ, -- ἀλλ᾽ ἢ : much the same in 


effect as ἢ καί v. 741.—ovd ἐκπέφυκ᾽ 
ἐγώ : whose child am I, More explicit 
than simply παῖδα (Πέλοπος παιδὶ παι- 
δὸς παῖδά μ᾽ ἐγείνατο) would have been. 

808-826. The recognition of Ores- 
tes by Iphigenia is effected by means 
of tokens (τεκμήρια), ἃ method treated 
by Aristotle as inferior in artistic 
merit to that of the primary ἀνα- 
γνώρισις of this play (the recognition 
of Iphigenia by Orestes), which is 
spontaneously produced by the action 
of the drama. Arist. Poet. xvi. 

810. “Rather should you relate, 
that I may learn.” Iphigenia does 
not care to ask any ‘leading questions.’ 

811 f. The distich marks the shift 
from one person to the other as ques- 
tioner.—A€ your’ av: adapted to λέγειν 
v. 810. --- ἀκοῇ ᾿Ηλέκτρας: “what I 
know by hearsay from Electra.” Op- 
posed to ἃ δ᾽ εἶδον αὐτός v. 822. 


128 


> ’ ’, 5 > , » 
Ατρέως Θυέστου τ᾽ οἶσθα γενομένην ἔριν; 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


᾿ ἸΦΙΓΈΝΕΙΑ. ' 
» A 9 N ers. #4 , “x, 
Ἤκουσα, χρυσὴς ἀρνὸς ἡνίκ HV πέρι. 
OPESTHS. 
a? > ε ΄,) 9 > 7 9 9 es ε A 
ταῦτ᾽ οὖν ὑφήνασ᾽ οἶσθ᾽ ev εὐπήνοις ὑφαῖς ; 
ΙΦΙΓΕΝΕΙΑ. 
> , > > Ἂς A 5 lal , An " 
815 ὦ φίλτατ᾽, εγγυς των ἐμῶν καμπτεις φρενῶν. ᾿ ᾿ 
OPESTHS. : 
3 ’ > 3 ε oo” e , , y 
εἰκώ T ἐν LoTOLS ἡλίου μετάστασιν; Ν 
ἸΦΙΓΈΝΕΙΑ. : 
ς \ > A ’ 
ὕφηνα καὶ τόδ᾽ εἶδος εὐμίτοις πλοκαῖς. ᾿ 
ὶ = 
OPESTHS. 
> Ν εῷ 7 ΄ os - 
καὶ λούτρ᾽ ἐς Αὖλιν μητρὸς ἁδέξω πάρα; fe 


812 f. For the story, see on vs. 
191 ff. —’Arpéws Θυέστου τ᾽ : between 
Atreus and Thyestes.—yKovra: cor- 
rects οἶσθα. The Greeks were rather 
disposed to insist on this distinction. 
See above on ἀκοῇ v. 811. Cf. ἐνθυμη- 
τέον καὶ map ἄλλων ἀκούουσι kal 
τοῖς εἰδόσιν αὐτοῖς ἀναμιμνησκο- 
μένοις Dem. iv. 38, ᾿Αρχέλαον δήπου 
τοῦτον τὸν Περδίκκου ὁρᾷς ἄρχοντα 
Μακεδονίας ; SQ. εἰ δὲ μή, ἀλλ᾽ ἀκούω 
γε Plat. Gorg. 470d (playful answer 
of Socrates to the colloquial ὁρᾷς; of 
Polus).—yvik ἦν : namely, when they 
had it; explanatory of γενομένην. 

814. ὑφήνασα οἶσθα: do you remem- 
ber weaving? Iphigenia had taken 
the history of the golden lamb as the 
design for a fine piece of work at the 
loom; cf. the allusion in vs, 228 ff. 

815. ἐγγὺς. . . φρενῶν; there you 


a 
᾿ 


graze my thoughts. — κάμπτεις : ἃ meta- 
phor from the hazardous and critical ; 
moment of turning the postinthe hip- 
podrome; the exclamation ὦ φίλτατε OR 
marks the closeness of the turn. ἃ 
816 f. εἰκὼ ἡλίου μετάστασιν : a pict- : 
ure of the retreating sun. εἰκώ is predica- 
tive, μετάστασιν the obj. of ὑφήνασα v. 
814.—evpirots πλοκαῖς : uiros(warp), 
πλέκειν. Of. εὐπήνοις ὑφαῖς vs. 814,312, a 
1465, πήνη (woof, Πηνελόπη), ὑφαίνειν. ὌΝ oe 
With such poetic phrases Euripides, 
an admirer of all manual art, essays 
to match the deftness of woven work 
itself. + ΟΝ 
818. λουτρά: sc. οἶσθα. --- ἀδέξω: & 
ἐδέξω. The water for the παρ! 
bath must be drawn from the local 
fountain consecrated to that purpose; 
hence a portion was taken from Argos 
to Aulis. ie 


ΟΣ 
Γκ 


IPHIGENIA AMONG THE TAURIANS. 129 


IPITENEIA. 


οἶδ᾽ - «οὐ yap ὁ γάμος ἐσθλὸς ὧν μ᾽ ἀφείλετο. 


OPESTHS. / 


820 τί yap; κόμας σὰς μητρὶ δοῦσα σῇ φέρειν; 


IPITENEIA. 


ar 73 \ , > A ’, 
μνημεῖα γ᾽ ἀντὶ σώματος τοὐμοῦ τάφῳ. 


ΟΡΕΣΤΗΣ. 


ἃ δ᾽ εἶδον αὐτός, τάδε φράσω τεκμήρια" 
Πέλοπος παλαιὰν ἐν δόμοις λόγχην πατρός, 


ἣν χερσὶ πάλλων παρθένον Πισάτιδα 


Ν᾽ 6 
825 ἐκτήσαθ᾽ Ἱπποδάμειαν, Οἰνόμαον κτανών, 


ἐν παρθενῶσι τοῖσι σοῖς κεκρυμμένην. 


IPITENEIA. 


ὦ φίλτατ᾽, οὐδὲν ἄλλο, φίλτατος yap εἶ, 


»Ὰ > 3 ’ὕ ,ὔ 
ἔχω σ΄, ὉΟρέστα, τηλύγετον 


819. ἀφείλετο: sc. τοῦτο τὸ μὴ εἰδέ- 
va. “'The marriage was not handsome 
enough to cause me to forget the cir- 
cumstance.” Cf. v. 539. 
rs 820. κόμας ods: a lock of your hair. 
--- μητρί: const. with φέρειν. --- δοῦσα: 
sc. οἶσθα; the same construction as 
ὑφήνασ᾽ οἶσθα v. 814. 

821. Yes, a memento for the grave 
instead of my remains. Cf. μνημεῖα 
θ᾽ αὑτῶν τοῖς τεκοῦσιν és δόμους | 
πρὸς ἅρμ᾽ ᾿Αδράστου χερσὶν ἔστεφον 


Aesch. Sept.49;hunec tamen, orba 


parens, crinem (dextraque se- 
candum | praebuit), hune toto 
capies pro corpore crinem|... 
huic dabis exequias Statius Theb. 


ix. 900. 


823 f. Notice the alliteration (7), 
and cf. vs. 807, 876. 
824 f. The weapon he wielded when 


he won the maid of Pisa. See on 
vs. 1 f. 

826. The lance, as an heirloom or 
‘transmittendum,’ was preserved 
in a part of the palace where no man, 
not a member of the family, would 
have seen it or have been likely to 
hear about it. Iphigenia asks for no 
further proofs, and the ἀναγνώρισις 
is complete. 


(Song from the Stage.) 


827-899. For the metres, see p. 51. 

828-830. ἔχω oe: brother and sis- 
ter embrace. Cf. ἐκ χερῶν v. 848, ἔχω 
σε χερσίν; Soph. Hl. 1226 (said by 
Electra to Orestes, when finally recog- 
nized, as here); tenedne te, | Anti- 
phila, maxume animo exopta- 
tim meo? Ter. Heaut. ii. 4 jin. — 
τηλύγετον : Homeric reminiscence. 


180 


χθονὸς ἀπὸ πατρίδος 


880 ᾿Αργόθεν, ὦ φίλος. 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. : 


OPESTH2. 


Kayo oe τὴν θανοῦσαν, as δοξάζεται. 


Ν \ ’ὔ 3 > , Ν / 9 “A 
κατα δὲ δάκρυ ἀδάκρνα, κατα yoos αμα χαρᾷ 


τὸ σὸν νοτίζει βλέφαρον, ὡσαύτως δ᾽ ἐμόν. 


IPITENEIA. 


835 


τὸν ἔτι βρέφος ἔλιπον ἔλιπον ἀγκάλαισι νεαρὸν 


A Ν > δό 
τροφοῦ νεαρὸν ἐν δόμοις. 


> A x / Ν 5 A 
ὦ κρεῖσσον ἢ λόγοισι θυμὸς εὐτυχῶν, 


, wn , , οὗ , 
τί φῶ; θαυμάτων πέρα Kat λόγου 


840 πρόσω τάδ᾽ ἐπέβα. 


OPESTHS. : 


τὸ λοιπὸν εὐτυχοῖμεν ἀλλήλων μέτα. 


IPITENEIA. 


5 


ἄτοπον ἁδονὰν ἔλαβον, ὦ φίλαι: 


Orestes was the ‘dearly beloved’ son. 
τίσω δέ μιν ἶσον ᾽Ορέστῃ, | ὅς μοι τηλύ- 
γετος τρέφεται θαλίῃ ἐνὶ πολλῇ I 142, 
said by Agamemnon. The Homeric 
word unquestionably conveyed to 
Euripides merely the sense given 
above, in harmony with the key-note 
of the present passage (φίλτατε, φίλ- 
τατος, φίλος). It has reasonably been 
thought that some word or words, 
such as μολόντα, may have fallen out 
of the text after τηλύγετον. 

831. κἀγώ σε: sc. ἔχω. 

832. An iambic trimeter resolved 
to its utmost capacity of short sylla- 
bles, viz. fifteen in the first five feet. 
In tragedy this only occurs in melic 
trimeters. Cf. the similar treatment 
of the anapaestic rhythm in vs. 231 f. 
“-κατὰ... κατά; anaphora. Const. 


the prep. adverbially with νοτίζει v. 
834 (‘tmesis’).—8dxpv ἀδάκρνα : tears 
that are no tears; explained by γόος 
ἅμα χαρᾷ. 

835. tov: 
with vs. 828 ff. 

837-840. κρεῖσσον ἢ λόγοισιν εὐ- 
τυχῶν : far happier than words can tell, 
Cf. κρείσσον᾽ ἢ λέξαι λόγῳ | τολμήματα 
Suppl. 844. The same thought is re- 
peated in λόγου πρόσω (past expres- 
sion). — ἐπέβα: befell; sc. wo. The 
aor. refers to the moment of recogni- 
tion; so ἔλαβον v. 842. 

841. Cf. ὡς τὰ λοίπ᾽ ἔχοις det Soph. 
El. 1226, said by Orestes in response to 
ἔχω σε χερσίν; ; — εὐτυχοῖμεν : adapted 
to εὐτυχῶν v. 838. 

842-844. ἄτοπον ἁδονάν : inconceiv- 
able delight.— ὦ φίλαι: addressed to 


dv, closely connected 


845 


IPHIGENIA AMONG THE TAURIANS. 


131 


δέδοικα δ᾽ ἐκ χερῶν pe μὴ πρὸς αἰθέρα 


> , 4 
ἀμπτάμενος φύγῃ. 


Μυκήνα φίλα, 


ὦ Κυκλωπίδες ἑστίαι, ὦ πατρίς, 


χάριν ἔχω ζόας, χάριν ἔχω τροφᾶς, 


Ψ 
ὅτι μοι συνομαίμονα 


τόνδε δόμοισιν ἐξεθρέψω φάος. 


OPESTHS. 


850 


γένει μὲν εὐτυχοῦμεν, εἰς δὲ συμφοράς, 


ὦ σύγγον᾽, ἡμῶν δυστυχὴς ἔφυ βίος. 


IPITENEIA. 


ἐγὼ μέλεος 010, 010 ὅτε φάσγανον 


δέρᾳ θῆκέ μοι μελεόφρων πατήρ, 


the chorus. — μή pe... ἀναπτάμενος 
φύγῃ: sc. ὅδε. The conceit is Euripi- 
dean; hence the parody: ὃ δ᾽ ἀνέπτατ᾽ 
ἀνέπτατ᾽ és αἰθέρα κουφοτάταις πτερύγων 
ἀκμαῖς Ar. Ran. 1552 (supposed to be 
sung by a woman who had lost her 
rooster). 

845 f. Kukdwrrides ἑστίαι : the mas- 
sive archaic stone-work at Mycenae 
was attributed to the Cyclopes; cf 
Μυκηναῖαί τ᾽ ἐμαὶ θέραπναι. | X. κα- 
λεῖς πόλισμα Περσέως, Κυκλωπίων 


πόνον χερῶν Iph, Aul. 1499. Hence 


_ the epithet ‘Cyclopean’ is constantly 


applied to the city. — Μυκήνα: col- 
lateral poetic form for Μυκῆναι, like 
Θήβη beside Θῆβαι, etc. 

847. The anaphora and the homoeo- 
teleuton ((éas . . . rpopas) produce 
a good effect in dochmiac dimeter 
verses; cf. v. 835 (νεαρὸν... veapdv), 
ἐπίλυσιν φόβων ἐπίλυσιν δίδου Aesch. 


Sept. 188, κλύετε παρθένων κλύετε παν- 


δίκως ib. 172. So in the ‘Horatian’ 


stanza: eg. quae cura patrum, 
quaeve Quiritium Carm. iv. 14. 2. 
-- χάριν ἔχω : grateful am I. 

848 f. μοί: dat. cf interest, to be 
construed with the clause. — δόμοι- 
ow: const. with φάος (pred. nom.). 
Cf. the quotation below in this note, 
and see on v. 187. --- ὅτι ἐξεθρέψω: 
expansion of rpogas (and (das) v. 847. 
The mid. is appropriate; see H. 815. 
The active would have been said of 
the mother; cf. ἔθρεψας Ἑλλάδι μέγα 
φάος Iph. Aul. 1502, addressed to Cly- 
taemnestra by Iphigenia. 

850f. γένει: by birth. Suggested by 
the mention of their native city in vs. 
845 ἢ --- ἔφυ : ἐστί. 

852 f. Iphigenia oscillates from one 
extreme of feeling to the other under 
the influence of Orestes’ words. For 
the reminiscence here, cf. v. 3861. — 
οἶδ᾽ ὅτε: cf. v. 813 (ἡνίκα), and see 
GMT. 1138, ν. 9. ----θῆκε: ἐπέθηκε. --- 
μελεόφρων : matching μέλεος. 


192 ΕΥΡΙΠΙΔΟΥ I®ITENEIA. | 
OPESTHS. 
855 οἰμοι: δοκῶ yap ov παρών σ᾽ ὁρᾶν ἐκεῖ. 
ἸΦΙΓΈΝΕΙΑ. 
ἀνυμέναιος, ὦ σύγγον᾽, ᾿Αχιλλέως 
εἰς κλισίαν λέκτρων δόλι᾽ ὅτ᾽ ἀγόμαν. 
860 παρὰ δὲ βωμὸν nv δάκρυα καὶ γόοι" 
φεῦ φεῦ χερνίβων τῶν ἐκεῖ. 
OPESTH3. 


ouwka κἀγὼ τόλμαν ἣν ἔτλη πατήρ. 


ΙΦΙΓΈΝΕΙΑ. 
865 ἀπάτορ᾽ ἀπάτορα πότμον ἔλαχον. ἄλλα δ᾽ ἐξ ἀλ- 
λων κυρεῖ. 
ΟΡΕΣΤῊΣ. 
εἰ σόν γ᾽ ἀδελφόν, ὦ τάλαιν᾽, ἀπώλεσας. 
ΙΦΙΓΈΝΕΙΑ. 
’ 4 ’ 
δαίμονος τύχᾳ τινός. 
856-860. ἀνυμέναιος : a similar 402.---ἄλλα. .. κυρεῖ: chances out of 


thought to viupay δύσνυμφον v. 216. 
Instead of the nuptial hymn there 
was ‘weeping and wailing’ (δάκρνα καὶ 
γόοι). ---- κλισίαν λέκτρων : periphrasis 
for λέκτρα (marriage) ; see on vs. 909-- 
371 jin. — δόλια: adverbial; δόλῳ v. 
371.— ὅτ᾽ ἀγόμαν : ἠγόμην, carries on 
the const. οἶδ᾽ ὅτε v. 852. 

862. I too must cry out at the hard 
heart our father had.— ἤὥμωξα καὶ ἐγώ: 
refers to φεῦ φεῦ v. 861. 

865-868. ἀπάτορα πότμον: a fate 
unfatherly; adapted to πατήρ v. 862. 
Cf. μήτηρ ἀμήτωρ Soph. Hi. 1154, said 
of Clytaemnestra by Electra. For the 


repetition, ἀπάτορ᾽ amdropa, see on V. 


chances grow. Iphigenia means to say ce 
that the sacrifice at Aulis was to her a 
the ‘ direful spring’ of a whole series 

of ills. Orestes breaks in confirma- 
tively with a mention of the horror 
which both have just escaped so nar- 
rowly.— el σόν γ᾽ ἀδελφὸν κτλ.: Ay, — 


ΟΥ̓͂Ν, 


if thine.own brother thou hadst slain! το 
δαίμονος τύχᾳ τινός : completes 
remark ἄλλα δ᾽ ἐξ ἄλλων κυρεῖ, in 
sonance also with the exclamati 
Orestes (ei . . . ἀπώλεσας), which 
expanded in vs. 869-872. —Tvxq: 
visitation,’ as we should say. 
religious view identifies human 
dent and divine intent. This ass 


IPHIGENIA AMONG THE TAURIANS. 


135 


ὦ μελέα δείνας τόλμας δείν᾽ ἔτλαν, 


870 


re | » » ὕὔ Ν 3 5 , 
δείν᾽ ἔτλαν, ὦμοι, σύγγονε, παρὰ ὃ ὀλίγον 


ἀπέφυγες ὄλεθρον ἀνόσιον ἐξ ἐμᾶν 


δαϊχθεὶς χερῶν. 


ε > 5 3 5 “ , 4 
ἁ δ᾽ ἐπ᾽ αὐτοῖς Tis τελευτά; 
τίς τύχα μοι συγκυρήσει; 


875 


’ 
τίνα σοι πόρον εὑρομένα 


πάλιν ἀπὸ πόλεως, ἀπὸ φόνου πέμψω 


πατρίδ᾽ ἐς ᾿Αργείαν, 


πελάσσαι; 
Χρέος ἀνευρίσκειν. 


Ν “ἵν ξίφ ν ἴω 
πρὶν ἐπὶ ξίφος αἵματι ow 
τόδε σόν, ὦ μελέα ψυχά, 


πότερον κατὰ χέρσον, οὐχὶ vat, 


ἀλλὰ ποδῶν ῥιπᾷ; 


θανάτῳ πελάσεις ἄρα, βάρβαρα φῦλα 


tion of ideas, though not peculiar to 
the ancients, is well illustrated by the 
frequent conjunction of θεός and τύχη 
in Greek. Cf. vs. 476-478, 909-911, 
ἐξεπλήσσου TH τύχῃ TH τῶν θεῶν 
Iph. Aul. 351 (of the ἄπλοια αὖ Au- 
lis), ἡ τύχη καὶ τὸ δαιμόνιον Dem. 
xiv. 96, 
869-899. Monody of Iphigenia. 
869 f. O wretched me in my fell 
hardihood! Hard, hard of heart was I, 
7 ete. — τόλμας : causal gen.; cf. vs. 647, 
ἢ 847, 861. --- δεινὰ ἔτλαν κτλ. : 


expands 
ν δεινᾶς τόλμας. Note τύλμα, τλῆναι, of 
- involuntary endurance, at least so far 


as treatment of a brother is concerned. 
Differently v. 864 (ἔτλη πατήρ). 
913-899. By the thought of Ores- 


“upon the danger that still besets 
: him, and the difficulties to be’ met 
in escaping it. The monody thus 


prepares the way for the ensuing — 
dialogue. 

873 f. What is the end of all to be? 
What hap will luckily betide me?—da 

. τελευτά : for the arrangement, see 
on v.72 jin. —éw αὐτοῖς : ἐπὶ τοῖς ἤδη 
γεγενημένοις. Cf. ἐπὶ τοῖσδε ν. 728. — 
συγκυρήσει : συντεύξεται, συμβήσεται. 

875 f. εὑρομένᾶ: the mid. implies 
search or effort, but the act. ἀνευρί- 
oxew (v. 885) has the same sense. 
- ἀπὸ πόλεως : ἀπὸ χθονός. Notice 
the alliteration (7). 

880 f. ἐπὶ... πελάσσαι : the subj. 
is ξίφος. Const. the prep. adverbially, 
cf. v. 892. ---- σὸν χρέος : σὸν épyov. — 
ὦ ψυχά: cf. vs. 344, 837. 

884 f. πότερον KTA.: 5856. πέμψω σε; 
“Shall it be, etc.?” 

886 f. dpa: of course; intimating 
that the query just put must be an- 
swered negatively. — φῦλα καὶ δι 
ὁδούς : see on y. 298. 


134 EYPITIAOY I®ITENEIA. ᾿ 


\ aoe δ oe Oy , Ν 4 \ 
και δι ὁδοὺς ἀνόδους στευχων * διὰ κυανέας μὴν 


890 στενοπόρου πέτρας μακρὰ κέλευθα ναΐοισιν δρασμοῖς. 


τάλαινα, τάλαινα. 


895 τίς ἂν οὖν τάδ᾽ ἂν ἢ θεὸς ἢ βροτὸς ἢ 


, le 3 ‘4 
τί τῶν ἀδοκήτων 


, » 3 , 
πορον ATOPOV ἐξανύσας 


δυοῖν τοῖν μόνοιν ᾿Ατρείδαιν φανεῖ 


A » 
κακων ἔκλυσιν; 


ΧΟΡΟΣ. 


A A Ὗ 
900 ἐν τοῖσι θαυμαστοῖσι καὶ μύθων πέρα 


τάδ᾽ εἶδον αὐτὴ κοὐ κλύουσ᾽ ἀπ᾽ ἀγγέλων. 


ΠΥΛΑΔΗΣ. >. 


τὸ μὲν φίλους ἐλθόντας εἰς ὄψιν φίλων, 


Ὀρέστα, χειρῶν περιβολὰς εἰκὸς λαβεῖν" 


889 f. διὰ κυανέας μὴν κτλ.: yet 
truly through the Cyanean Crag with 
narrow frith, long is the way for vessel’s 
Slight. Escape by sea also seems im- 
possible to Iphigenia in her present 
state of mind, hence the following 
utterances of perplexity and distress. 
-- ναΐοισιν Spacpots: contrasted with 
ποδῶν ῥιπᾷ v. 885. Both are highly 
poetical expressions (for the -prosaic 
πεζῇ and θαλάσσῃ), and both are sug- 
gestive of swiftness. 

894 ff. “ Alas! who then herein, or 
god or mortal man, or what all-unex- 
pected thing, achieving a way impass- 
able, shall show, etc.?” Parts of the 
text are uncertain, and no precise in- 
terpretation can be given. — δυοῖν 
τοῖν μόνοιν ᾿Ατρείδαιν: viz. Orestes 
and Iphigenia. Electra is for the 
moment forgotten, just as Antigone 
under similar pressure ignores Ismene, 
and calls herself τὴν βασιλίδα μούνην 
λοιπήν Soph. Ant. 941. 


900 f. μύθων πέρα : cf θαυμάτων πέρα 


“καὶ λόγου πρόσω Vv. 899. --- εἶδον αὐτὴ 


κτλ: the current antithesis of eye- 
witness and hearsay; see on vs. 812 f. 

902-908. Pylades ‘calls time,’ 

902 f. ro μέν: the article has but 
loose grammatical connection; it 
serves chiefly to mass the concessive 
statement, preparatory to the anti- 
thetic λήξαντα δὲ κτλ. v. 904. — “It is, 
to be sure, natural that dear ones 
should take to embracing, when dear 
ones they see again.” — φίλους... φί- 
λων: cf. v. 650. — εἰκός : the copula is 
oftener omitted than expressed with 
predicates denoting fitness, duty, etc., 
and their opposites ; cf. δίκαιον v. 601, 
αἰσχρόν ν. 674, σὸν χρέος ν. 881, καλόν 


vs. 927, 1064, θέμις v. 1036. It is reg- 


ularly omitted with χρεών, δέον, ppod- 
δος (vs. 154, 1294), the verbal in -τέον 
(vs. 118,121); see H.611a. All such 
adjectives contain in themselves, more 
or less distinctly, the idea of a verb. 


te 


IPHIGENIA AMONG THE TAURIANS. 


135 


λήξαντα δ᾽ οἴκτων κἀπ᾽ ἐκεῖν᾽ ἐλθεῖν χρεών, 


905 


ὅπως TO κλεινὸν ὄνομα τῆς σωτηρίας 


λαβόντες ἐκ γῆς βησόμεσθα βαρβάρου. 
σοφῶν γὰρ ἀνδρῶν ταῦτα, μὴ ᾿κβάντας τύχης, 
καιρὸν λαβόντας, ἡδονὰς ἄλλας λαβεῖν. 


ΟΡΕΣΤΗΣ. 


καλῶς ἔλεξας : τῇ τύχῃ δ᾽ οἶμαι μέλειν 


910 


τοῦδε ξὺν ἡμῖν: ἣν δέ τις πρόθυμος ἡ, 


σθένειν τὸ θεῖον μᾶλλον εἰκότως ἔχει. 


IPITENEIA. 


> , 3 3 4 > 50» 3 ΄ ’ 
οὐδέν μ᾽ ἐπίσχει γ᾽ οὐδ᾽ ἀποστήσει λόγου, 


904-906. λήξαντα : sing., applying 
the admonition to Orestes only. — 
οἴκτων : οἶκτος (οἵ, οἴμοι) is strictly 
the audible demonstration of feel- 
ing; cf. v. 147. — ἐκεῖνα : anticipating 
the clause émws ... βησόμεσθα, and 
emphatic as opp. to what precedes 
(vs. 902 f.).— ὅπως κτλ. : namely, the 
task ‘of securing, etc. ἐπ᾽ ἐκεῖνα ἐλθεῖν 
implies effort; see G. 217, H. 885. — 
κλεινὸν ὄνομα σωτηρίας : κλεινὴν σω- 
τηρίαν. The periphrasisneed not sug- 
gest any opposition between name 
and reality. Cf. κληήζεται πατήρ v. 917, 
where somewhat of the notion of κλει- 
vés is conveyed, not ‘reputed’ as 
opposed to ‘true.’ 

907 f. ταῦτα: explained by what 
follows, like ἐκεῖνα v. 904, but with- 
out the antithetic force indicated by 
that pronoun. — py... λαβεῖν : const. 
the neg. with the whole combined 
thought. — καιρὸν λαβόντας: ἐπὴν 
καιρὸν λάβωσιν, explanatory of τύχης 
and opp. to ἡδονὰς λαβεῖν. --- ἄλλας : 
i.e. foreign to the exigency of the cri- 
sis (ἔξω τοῦ καιροῦ, ἔξω rixns). The 
idiomatic ἄλλας is due to the repeti- 


tion λαβόντας ... λαβεῖν, notwithstand- 
ing the different shades of meaning 
‘get’ and ‘take.’— “It beseems wise 
men not to desert Fortune and lose a 
precious moment, to take up with 
vain pleasures.” 

909-911. τῇ τύχῃ. . . ξὺν ἡμῖν : me- 
thinks Fortune has charge of this under- 
taking in company with ourselves. — 
Tovoe: 1.6. the task named in vs. 906 f. 
— ἣν δέ τις κτλ. : expands the thought 
ξὺν ἡμῖν. --- μᾶλλον : const. with σθέ- 
νειν. ‘The idea that divine providence 
is reénforced by human energy is the 
equivalent (though the converse in 
statement) of ‘Heaven helps those 
who help themselves.” τῷ γὰρ πονοῦντι 
kal θεὸς συλλαμβάνει Frag. 435, fortes 
Fortuna adiuvat.— εἰκότως ἔχει: 
it is reasonable to suppose. 

Orestes has acquired improved views 
of τύχη and τὸ θεῖον since vs. 570 ff. 

912-914. The lines are transitional. 
Iphigenia, who may be supposed to 
know best how much time there is to 
spare, insists on further satisfying 
her curiosity before proceeding to 
business. Thus narrative matter of 


136 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ἴω ᾿ς , - 8 la τὲ / 
7 P@TOV πυθέσθαι TWA ΠΟΤ Ηλέκτρα TOT MOV 


» , , Ν δ» ’ 3 ϑ ’ 
εἴληχε βιότου: φίλα γὰρ ἔσται πάντ᾽ ἐμοί. 


ΟΡΕΣΤΗΣ. 


A A Ψ » 3 3 , 
915 τῷδε ξυνοικεῖ βίον ἔχουσ᾽ εὐδαίμονα. 


IPITENEIA. 


Ὄ \ N \ , lat A 
OUTOS δὲ ποδαπὸς και τινος πέφυκε πταις 5 


OPESTHS. 


Στρόφιος ὁ Φωκεὺς τοῦδε κλήζεται πατήρ. 


ISITENEIA. 


a 5 ΕῚ , >. 9 , , ε A 5 , 
ὃ δ᾽ ἐστί y Ατρέως θυγατρός, ομογενὴς ἐμος; 


ΟΡΕΣΤῊΣ. 


ἀνεψιός γε, μόνος ἐμοὶ σαφὴς φίλος. 


IPITENEIA. 


> > ‘yp _® Y \ » s 
920 οὐκ nv τόθ᾽ οὗτος OTE πατὴρ EKTELVE με. 


ΟΡΕΣΤΗΣ. 


> 


an interesting sort, with facts that 
Iphigenia must learn before she 
can assist her friends intelligently, 
is brought into the epeisodion in 
advance of the BovAevois or plot for 
escape. — οὐδὲν... ἀποστήσει : there 
is certainly nothing to hinder, and noth- 
ing shall put me off. —doyou: from my 
purpose of ascertaining; see on v. 578. 
- πρῶτον: first of all; i.e. before at- 
tending to the pressing matter of 
which Orestes and Pylades have just 
spoken. — πυθέσθαι: explanatory of 
λόγους. The inf. after a verb of hin- 
drance is the counterpart of a gen. 
of separation. — ἔσται : against ‘Por- 
son’s rule,’ but the future suits the 


he 3 \ s , > 5» , 
οὐκ ἦν" χρόνον yap Στρόφιος ἣν ἄπαις τινά. 


sense much better than ἐστί would; 
see on ΨΥ. ὅ80. --- πάντα: 1.6. “every- 
thing that I can learn about her.” 

915. τῴδε ξυνοικεῖ: “his wife she 

is.” 
916-919. οὗτος: deictic exactly 
like ὅδε. Cf vs. 595 with 598, 600 
with 601.—o Φωκεύς : contains the 
answer to modamrds;— KAyferat: see 
on v. 905 fin. —éorl ye: is really? — 
θυγατρός : 1.6. Anaxibia, sister of Aga- 
memnon, — ἀνεψιός ye: γέ with refer- 
ence to ὁμογενής. See on v. 510. 

920 f. It is here seen why the 
name of Pylades conveyed no signifi- 
cance to Iphigenia, when reported to 
her early in the play. — ἔκτεινε : impf. 


~ 
A 


IPHIGENIA AMONG THE TAURIANS. 137 


IPITENEIA. 


χαῖρ᾽ ὦ πόσις μοι τῆς ἐμῆς ὁμοσπόρου. 


_ OPESTH. 


κἀμός YE σωτήρ, οὐχὶ συγγενὴς μόνον. 


IPITENEIA. 


τὰ δεινὰ δ᾽ ἔργα πῶς ἔτλης μητρὸς πέρι; 


ΟΡΕΣΤῊΣ. 


ΕΝ Ἀ “ - 
925 σιγώμεν αὐτά: πατρὶ τιμωρῶν ἐμῴ. 


IPITENEIA. 


ξ 5 3. » ’ 5 > 7 / , 
7) ὃ αἰιτια τις ἀνθ ΟΤου KTELVEL ποσιν; ΠΝ 


OPESTH®S. 


yy A , 5 Ν \ , 
€a TA μητρός: οὐδὲ σοὶ κλυειν καλόν. 


IPITENEIA. 


σιγῶ" τὸ δ᾽ “Apyos πρὸς σὲ νῦν ἀποβλέπει; 


ΟΡΕΣΤΗΣ. 


Μενέλαος ἄρχει: φυγάδες ἐσμὲν ἐκ πάτρας. 


ΙΦΙΓΕΝΕΙΑ. 


930 οὔ που νοσοῦντας θεῖος ὕβρισεν δόμους ; 


922. χαῖρε... μοι: the ethical dat. 
often occurs thus with χαίρειν. Cf 
χαῖρε πολλά μοι, πάτερ. Hipp. 1453, 


'χαίρουσά μοι (“ With farewell from 


me!”) εἰν ᾿Αίδα δόμοισιν | τὸν ἀνάλιον 
οἶκον οἰκετεύοις Alc. 436. 

The stichomythic form is not favor- 
able to the amenities of an ‘introduc- 
tion’; but Pylades, if not at liberty 
to speak, could at least make his bow. 

924. But how did you bring yourself 
to that dreadful work, etc.? — τὰ δεινά: 
for the article, see on v. 320. 


925-927. σιγῶμεν αὐτά: let us say 
nothing about it.—dav@ ὅτου : where- 
fore (causa quamobrem). In this 
conjunctional phrase no account is 
ever taken of the gender of the ante- 
cedent noun. —éa: leave the subject 
alone. — οὐδὲ Kadov: besides, it is not 
Jine ; 1.6. besides being an unpleasant 
subject for Orestes to speak of. 

928-930. πρὸς σὲ ἀποβλέπει : looks 
to you? I.e. for protection and govern- 
ment, as to its hereditary sovereign. 
— φυγάδες : pl. for sing. Said by 


198 ~~ 


EYPITWAOY I@®ITENETA. 


OPESTH®S. 


οὔκ, ἀλλ᾽ ᾿Ερινύων δεῖμά μ᾽ ἐκβάλλει χθονός. 


ΙΦΙΓΕΝΕΙΑ. 


δι γενό. OS A > Ὁ» 9 , , 
ταῦτ᾽ ap ἐπ᾽ ἀκταῖς κἀνθάδ᾽ ἠγγέλθης paveis; 


OPESTH2. 


ὦφθημεν ov νῦν πρῶτον ὄντες ἀθλιοι. 


IPITENEIA. 


», , > ν 3 > , ’ 
ἔγνωκα: μητρός σ᾽ εἵνεκ᾽ ἡλάστρουν θεαί. \ 


ΟΡΕΣΤΗΣ. 


= 


935 ὥσθ᾽ αἱματηρὰ στόμι᾽ ἐπεμβαλεῖν ἐμοί. 


IPITENEIA. 


- , 5 5 “a - > 5 , ,ὔ 
τί γάρ ποτ᾽ εἰς γῆν τήνδ᾽ ἐπόρθμευσας πόδα; 


OPE2THS. 


Φοίβου κελευσθεὶς θεσφάτοις ἀφικόμην. 


Orestes with reference to the Furies, 
but naturally understood by Iphigenia 
in the civil (political) sense; οὗ v. 
512. Hence her surprised question οὔ 
που κτλ. It surely cannot be that your 
uncle took a base advantage of the family 
troubles? Sc. to usurp the preroga- 
tive (τυραννίδος χάριν ν. 081). Orestes 
had only meant to say that Menelaus 
was acting as regent (pending an ac- 
tion de lunatico inquirendo, as 
we should be inclined to term it). 

931. ’Epwiev: trisyllabic in recit- 
ing; as also in v. 970. 

932. That explains, then, how you 
came to be reported as attacked by mad- 
ness on the shore here also? —ravtra: see 
Η. 719c (last example).—dpa: &pa.— 
Kal ἐνθάδε : here as well as at Argos. 


933. This is not the first time my 
misery has been witnessed. 

935. The victim of the Furies is 
conceived as a steed urged by a 
cruel rider. —a@ore: connects éreuBa- 
λεῖν immediately with ἠλάστρουν v. 
934. “Until the bit ran blood,” we 
should be apt to say. So Clytaem- 
nestra declares that Cassandra will 
never learn to mind the rein πρὶν ai- 
ματηρὸν ἐξαφρίζεσθαι μένος Aesch. Ag. 
1067. 

936. τί γάρ: but why? See on v. 506. 
— ἐπόρθμευσας πόδα: cf πορθμεύων 
ἴχνος V. 200. πορθμεύειν occurs, meta- 
phorically for the most part, also in 
vs. 371, 735, 1858, 1435, 1445; of a 
star I[ph. Aul. 6; of the deus ex 
machina Andr. 1229. 


IPHIGENIA AMONG THE TAURIANS. 


139 


IPITENEIA. 


τί χρῆμα δράσων; ῥητὸν ἢ σιγώμενον; 


ΟΡΕΣΤΗΣ. 


λέγοιμ᾽ ἄν: ἀρχαὶ δ᾽ αἵδε μοι πολλῶν πόνων. 


940 


5 Ἂν Ἂς Ν “9 ἃ lanl κ᾿ 
επει TA PYTpPOS ταῦθ a OLY @ILEV KQAKQ 


eis χεῖρας ἦλθε, μεταδρομαῖς δ᾽ Ἐρινύων 


ἠλαυνόμεσθα φυγάδες, ἔνθεν μοι πόδα 
εἰς τὰς ᾿Αθήνας δή γ᾽ ἔπεμψε Λοξίας, 


δικὴν παρασχεῖν ταῖς ἀνωνύμοις θεαῖς. 


945 


¥ Ν ε , “ ἃ x Ἢ 
εστιν yap οσια ψῆφος, ἣν Αρει ποτε 


\ ν ϑ»ϑν» Ν lal , 
Ζεὺς εἵσατ᾽ ἔκ Tov δὴ χερῶν μιάσματος. 


939. Nay, I can relate it—and here 
you have the beginning of a long, sad tale. 


' —déyour’ dv: the reply to ῥητὸν ἢ 


σιγώμενον; V. 998. --- aide: explained 
by what follows (ἐπεὶ κτλ. v. 940). 
αἵδε stands for τάδε by assimilation to 
the gender of the pred. ἀρχαί, cf. αἵδ᾽ 
ἐπιστολαί v. 786 (referring to what 
precedes), δικαστοῦ μὲν yap αὕτη (for 
τοῦτο) ἀρετή Plat. Apol. 18 a. 

941 f. els χεῖρας ἦλθε: had been laid 
upon my hand; speaking of himself as 
a passive instrument of the divine de- 
cree. — ἠλαυνόμεσθα : obs. the change 
of tense from ἦλθε, and for the impf. 
with ἐπεί, see on v. 261. ---- ἔνθεν : ἔπει- 


“τα, ἐκ τούτου, correl. to ἐπεί ν. 940. --- 


ἔνθεν μοι πόδα: not subject to ‘ Por- 
son’s rule,’ since there can be no cae- 
sura before an enclitic. 

943. els τὰς ᾿Αθήνας δὴ ye: “to 
Athens at last!” Dwelling with force 
on the significant name of the city 
which afforded the first respite from 
suffering.— For the rare δή ye, ¢f. 
πάρεσμεν, ola δή γ᾽ ἐμοῦ παρουσία Her- 
acl. 6082. --- ἔπεμψε: guided my steps, 
viz. by means of the second oracle. 


For the expression, cf the similar 
πόδα πέμπω vs. 130 f.— Λοξίας : Lor- 
tas, an appellation of Apollo of un- 
known etymology. 

944. “To stand trial at suit of the 
nameless goddesses.” For ἀνωνύμοις, 
cf. τὰνδ᾽ ἀμαιμακετᾶν κορᾶν, ] ἃς τρέ- 
μομεν λέγειν Soph. Oed. Col. 128. 
The same euphemism as in the names 
Εὐμενίδες, Seuval. 

945 f. ψῆφος : tribunal ; 1.6. the Sen- 
ate of the. Areopagus (‘ Mars’ Hill’). 
ψῆφος “ pebble,” “ ballot,” “court,” cf: 
the changes of meaning the word 
‘court’ itself has undergone.—”Ape: 
Jor Ares, i.e. to have him tried (and 
cleared if possible); an entirely differ- 
ent dat. from θεαῖς v. 944, where the 
original meaning of δικὴν παρασχεῖν is 
to ‘give satisfaction.’ — εἴσατο: es- 
tablished. For the word, see H. 517 D7. 
—€K... μιάσματος : in consequence of 
some act of pollution or other; in fact 
for slaying Halirrothius, a son of 
Poseidon. Cf. ἔστιν δ᾽ "Αρεώς tis ὄχθος, 
οὗ πρῶτον θεοὶ | ἕζοντ᾽ ἐπὶ ψήφοισιν αἵ- 
ματος πέρι, | “Αλιρρόθιον ὅτ᾽ ἔκταν᾽ ὠμό- 
φρων “Apns El. 1258.— δή : points to 


140 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ἐλθὼν δ᾽ ἐκεῖσε, πρῶτα μέν μ᾽ οὐδεὶς ξένων 


ἑκὼν ἐδέξαθ᾽, ὡς θεοῖς στυγούμενον " 


ot δ᾽ ἔσχον αἰδῶ, ξένια μονοτράπεζά μοι 


950 


¥ » A , 
παρέσχον, οἴκων OVTES EV ταὐτῷ στέγει, 


A ΝΜ Ὁ ΄, a 195 ,ὔ γ 3 ν 
σιγῇ ὃ ETEKTYVQVT ἀπόφθεγκτόν b> OTT WS 


εἶ 4 , ’ > > “Ὁ 4 
δαιτὸς γενοίμην πώματός τ᾽ αὐτῶν δίχα, 


9 CPC, » ΕἾ Ψ ΄ 
εις ὃ ayyos LOLOV ισον ATACGL βακχίον 


μέτρημα πληρώσαντες εἶχον ἡδονήν. 


955 


κἀγὼ ᾿ξελέγξαι μὲν ξένους οὐκ ἠξίουν, 


“aN δὲ “~ 100 3 ἰδέ 
1) Youv € σιγγ) KQOOKOVVY OUK ειἰιοέναι, 


the event as well known in regard to 
its nature, whatever the particulars 
may have been. 

947-960. Legendary details adapted 
to account for certain Athenian cus- 
toms in existence at the poet’s time. 
See Introd. p. 13. 

947. ἐλθών : said as if a passive verb 
were to follow; an anacoluthon of so 
common occurrence as to have re- 
ceived from grammarians the name of 
‘nominative absolute.’ Cf vs. 696 ff. 

949-954. Those Athenians who 
scrupled to exclude their suppliant 
visitor entirely from their houses and 
from entertainment as guest (ξένια), 
attempted to reconcile the conflicting 
obligations of hospitality and avoid- 
ance of pollution, by serving the ma- 
tricide at a separate table (ξένια μονο- 
τράπεζα), and by observing silence 
while he was present. It was unlaw- 
ful to speak to him, so they did not 
speak at all. 

949. ἔσχον αἰδῶ: “felt scruples of 
mercy.” 

950. οἴκων στέγει: οἴκῳ. The mer- 
ciful allowed Orestes to be under the 
same roof with themselves, although 
the strictest religion ordained ὠθεῖν 
am οἴκων πάντας Soph. Oed. Tyr. 241. 


951. But by a silence of their own 
they contrived to keep me from speech of 
them, εἰς. ---- ἀπόφθεγκτον : pred. adj. 
ἀπό in comp. is here neg. in force; cf. 
ἀποφράς (nefandus). For the ban, 
ch. ἄφθογγον εἶναι τὸν παλαμναῖον νόμος 
Aesch. Eum. 448, sc. until solemn 
purification had been undergone ; so 
of the murderer of Laius, μήτ᾽ εἰσδέ- 
χεσθαι, μήτε προσφωνεῖν τινά Soph. 
Oed. Tyr. 288. 

953 f. ἄγγος ἴδιον: 1.6. a separate 
bowl for each man’s portion of wine, 
an ‘individual’ beaker, instead of 
drawing from a common κρατήρ. --- 
ἴσον : const. with μέτρημα. --- εἶχον 
ἡδονήν : “and thus quaffed the cheer.” 
These concluding words are graphic 
and descriptive (note the tense), leav- 
ing a picture of the scene before the 
mind of the hearer (reader), while the 
significant predication is contained 
in the participle πληρώσαντες κτλ. 

955-957. I, for my own part, did not 
see fit to take my hosts to task, but suf- 
Jered in silence, and tried to seem uncon- 


scious, though in truth deeply sighing, 
that I was guilty of a mother’s blood. — 
ἐδόκουν : see on Vv. 1335.—ovk εἰδέναι — 
not μή, because the inf. is in the con- _ 


struction of indirect discourse; see 


IPHIGENIA AMONG THE TAURIANS. 141 


μέγα στενάζων, οὕνεκ᾽ ἢ μητρὸς φονεύς. 
κλύω δ᾽ ᾿Αθηναιοῖσι τἀμὰ δυστυχῆ 


\ ΄ " δ , ΄ 
τελετὴν γενέσθαι, κατι TOV VOMOV μένειν 


960 χοῆρες ἄγγος Παλλάδος τιμᾶν λεών. 


ὡς δ᾽ εἰς “Apevov ὄχθον ἧκον, ἐς δίκην τ᾽ 


ἔστην, ἐγὼ μὲν θάτερον λαβὼν βάθρον, 


τὸ δ᾽ ἄλλο πρέσβειρ᾽ ἥπερ ἢν ᾿Ἐρινύων, 


G. 288, 3; H. 1024. --- οὕνεκα κτλ. : 
const. with εἰδέναι. This comes to 
precisely the same thing as saying that 
he pretended not to notice any singu- 
larity in the treatment he received 
as guest.— 1: is the form in tragedy 
of the 1st pers. sing. impf. of εἶναι. 
958-960. Undramatic, and said from 
the point of view of the poet and the 
spectator. Anachronisms are charac- 
teristic of the literature of the stage. 
- τελετήν : α solemn rite.— γενέσθαι : 
the inf. instead of the regular partici- 
ple with κλύω (ἀκούω) to indicate a sub- 
jective statement rather than percep- 
tion by the sense. “I hear,” equiv. to 
“Tam told”; cf. πρότερόν ποτ᾽ ἀκούω 


ξενικὸν τρέφειν ἐν Κορίνθῳ τὴν πόλιν 


Dem. iv. 29. --- καὶ ἔτι κτλ.: and that 
the custom still exists, of Pallas’ people 
honoring the cup of Choés-day. The 
second day of the Dionysiac festival 
Anthesteria was named Xdées, when 
at a drinking-match each contestant 
drained off his measure (χοῦς) of 
wine in the midst of perfect silence. 
---χοῆρες ἄγγος : intended to suggest 
χοῦς, Xdes, while also adapted to &y- 
γος ἴδιον v. 953. 

961-967. The narrative is resumed 
from vy. 946. The apodosis of the sen- 
tence begins with εἰπών v.964, although 
ἐγὼ μὲν... Ἐρινύων (vs. 962 f.) can 
hardly be said to belong more to pro- 
tasis than to apodosis. For the ana- 


coluthous structure in vs. 964 f., see 
on v. 947. 

961. "Ἄρειον ὄχθον : ἔΑρειον πάγον. 
- ἐς δίκην τ᾽ ἔστην: and was put on 
my trial, Klision at the end of an 
iambic trimeter verse has not been 
noted elsewhere in Euripides, but oc- 
curs several times in Sophocles (e.g. 
Oed. Tyr. 29), though never in Aeschy- 
lus. The phenomenon is instructive 
as helping to show that the dialogue 
of tragedy was not metre-bound in 
recitation. See p. 38, foot-note. 

962 f. There were two white stones 
in the court, employed as stands 
(βάθρα) for accuser and accused re- 
spectively. Orestes took his place 
upon the λίθος Ὕβρεως, and the senior 
Fury hers upon the λίθος ᾿Αναιδείας. 
Thus the stones were named accord- 
ing to Pausanias i. 28. 5.— τὸ 8 ἄλλο: 
obj. of λαβοῦσα, to be mentally sup- 
plied in agreement with ἥπερ κτλ. 
The nom. ἥπερ, or strictly the under- 
stood antecedent of ἥπερ, stands (with 
ἐγὼ μέν) in partitive apposition; no 
pl. verb or subj. has been expressed, 
but one is implied in és δίκην ἔστην, 
as well as in εἰπὼν ἀκούσας τε v. 964. 
The whole passage is clearer before 
being grammatically explained than 
after. — πρέσβειρα: fem. form of 
πρέσβυς, Which is often a superlative 
in sense; see H. 247 D. It forms 
the predicate with ἦν. 


142 


ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ee 3 , > ν Ν ΄ 
ELTWVY AKOVOAS θ αιμᾶτος μῆτρος TEPt, 


wn , > » nw » ’ὕ 
965 Φοῖβός μ EOWOE μαρτυρων" σας δέ μοι 


ψήφους διηρίθμησε Παλλὰς ὠλένῃ, 


ἴω 3 5 ων a , 
νικὼν δ᾽ QTY) ρα φόνια πειρατηρια. 


ν μ᾽ > 4 “A δί 
ὅσαι μὲν οὖν ἕζοντο πεισθεῖσαι δίκῃ, 


“A > 5 Ν ε Ν ε ’ 9 » 
ψῆφον Tap αὑτὴν ἱερὸν ὠρίσαντ᾽ ἔχειν. 


gy +5 , 
970 ὅσαι δ᾽ ᾿Ερινύων οὐκ ἐπείσθησαν νόμῳ, 


’ 3 4 > , > te ν΄ 
δρόμοις ἀνιδρύτοισιν ἡλάστρουν μ él, 


ἕως ἐς ἁγνὸν ἦλθον αὖ Φοίβου πέδον, 


964. “ After both parties had been 
heard, etc.” — εἰπὼν ἀκούσας Te: an 
Attic phrase concisely designating 
impartiality of procedure in litigation ; 
cf. ἄναξ, ὑπάρχει μὲν τόδ᾽ ἐν TH σῇ χθονί, 
[εἰπεῖν ἀκοῦσαί τ᾽ ἐν μέρει πάρ- 
εστί μοι Heracl. 181, addressed to the 
ruler of Athens. 

965 f. Φοῖβος... μαρτυρῶν: the 
nature of Apollo’s evidence for the 
defendant, presenting the superiority 
of paternal to maternal claims, may 
be learned from Aeschylus, Hum. 
576 ἢ, ---ἴσας δὲ κτλ.: Athena pre- 
sides in the court, and deposits the 
casting-vote in favor of Orestes, to 
break the tie; hence the phrase ψῆφος 
᾿Αθηνᾶς (calculus Minervae) in 
the custom of interpreting a tie vote 
as an acquittal in cases of bloodshed. 
-- ὠλένῃ : instead of χερί. Euripides 
was rather fond of the word ὠλένη, 
but there is dignity in its use here. 

967. And I came off victorious in 
the trial for murder.—damypa: see 
on vy. 611. --- πειρατήρια: cf peri- 
culum. For the acc. of kindred 


meaning with νικῶν, see ἃ. 159 Rem., 


H. 716 a. 

968 ff. It is at this point that the 
myth overpasses its original limit, in 
that certain of the goddesses refuse 


to be bound by the verdict, and con- 
tinue their persecution of Orestes. 

968. Now then, such of them as were 
disposed to stay and abide by the judg- 
ment. — ἕζοντο: contrasted with the 
thought of moving further implied in 
ἠλάστρουν Vv. 971. 


969. The ancient shrine of the Eu- 


menides in a grotto of the Hill of 
Ares is thus traced to its mythical 
establishment. Likewise in the play 
of Aeschylus. Cf. also δειναὶ μὲν οὖν 
θεαὶ τῷδ᾽ ἄχει πεπληγμέναι | πάγον 
παρ᾽ αὐτὸν χάσμα δύσονται χθονός, 
σεμνὸν βροτοῖσιν εὐσεβὲς χρηστήριον 
ΜΙ. 1210. -- παρ᾽ αὐτήν: hard by. Cf. 
classemque sub ipsa | Antan- 
droet Phrygiae molimur mon- 
tibus Idae Verg. Aen. iii. 5. — dpt- 
σαντο: literally, “allowed the boun- 
daries to be marked out for them.” 
From the spirit of the Aeschylean 
representation (Zum. 847 ff.) we may 
say “agreed,” “consented.” — 
Baise ἀνιδρύτοισιν: unresting. ἱδρύ- 
“settle,” vs. 978, 1468, -- αὖ : once 
more. This was Orestes’ third visit to 
the oracle, the one that belongs to 


the new part of the legend.—dyvov — Bact 


akin’ 


Φοίβου πέδον: Phoebus’ holy ground. ὦ 
The Delphian temple and its pre- 
cincts. 


IPHIGENIA AMONG THE TAURIANS. 


145 


2 / > 4 5 , “ὦ a 
και πρόσθεν ἀδύτων ἐκταθείς, νῆστις βορᾶς, 


αι » δὸς, ἐκ ΄, 3 ΄ ΄ 
επτώμοσ αυτου βίον ἀπορρήξειν θανών, 


975 


εἰ μή με σώσει Φοῖβος, os μ᾽ ἀπώλεσεν. X 


5 [οὶ ON , 3 an δεν 
ἐντεῦθεν αὐδὴν τρίποδος ἐκ χρυσοῦ λακὼν 


Φοῖβός μ᾽ ἔπεμψε δεῦρο, διοπετὲς λαβεῖν 


ἄγαλμ᾽ ᾿Αθηνῶν 7 ἐγκαθιδρῦσαι χθονί. 


9 wr. δ᾽ Cur ν , 
ἀλλ᾽ ἥνπερ ἡμῖν ὠρισεν σωτηρίαν 


980 


, a Ν Ν᾿ 4 » 
σύμπραξον: ἣν γὰρ θεᾶς κατάσχωμεν βρέτας, 


“ Nits Ν Ν x , , 
μανιὼν ΤῈ Ὥζςω Καὶ σέ πο UK@T@ σκάφει 


4 / 5 / , 
στείλας Μυκήναις ἐγκαταστήσω πάλιν. 


ἀλλ᾽ ὦ φιληθεῖσ᾽, ὦ κασίγνητον κάρα, 


wn » a » 
σῶσον πατρῴον οἶκον, ἔκσωσον δ᾽ ἐμέ: 


973-975. Orestes comports himself 
precisely as did the final envoys from 
Athens to Delphi, just before the con- 
flicts with Xerxes. Their words as 
given by Herodotus were: ὦναξ, χρῆ- 
σον ἡμῖν ἄμεινόν τι περὶ τῆς πατρίδος, 
αἰδεσθεὶς τὰς ἱκετηρίας τάσδε τάς τοι 
ἥκομεν φέροντες" ἢ οὔ τοι ἄπιμεν ἐκ 
τοῦ ἀδύτου, ἀλλ᾽ αὐτοῦ τῇδε μενέομεν 
ἔστ᾽ ἂν καὶ τελευτήσωμεν Vii. 141. The 
response to this appeal was the fa- 
mous oracle of the ‘ wooden wall.’ — 


᾿νῆστις βορᾶς : without taste of food. — 


αὐτοῦ: right there; cf. αὐτοῦ τῇδε 
(right here) Hat. l.c., also vs. 1182, 
1159, 1215. — βίον ἀπορρήξειν θανών : 
viz. by starvation. The suppliant 
makes use of forcible expressions in 
his final despairing petition to this 
priestly supreme court of appeals. — 


For fnyviva in this connexion, cf. ψυ- 


χορραγεῖς V. 1400. -- σώσει... ἀπώ- 
λεσεν : by this contrast the petitioner 
exhibits the justice of his claim: — 
the god shall rectify the consequences 
of his original command. 


976 f. ἐντεῦθεν : thereupon. Of. ἔν- 


θεν v. 942. ---λακών : see on v. 401, 
---διοπετές : interpreted by vs. 87 f. 

979-986. The narrative passes into 
personal exhortation of Iphigenia. 
The Taurian image is to Orestes the 
palladium of his future well-being: it 
is in the possession and under the pro- 
tection of his sister; he anticipates 
her scruples in regard to its removal, 
hence the earnest, almost passionate, 
fervor of his appeal in vs. 989 ff. 

979 f. ἥνπερ... σωτηρίαν : for the 
arrangement, cf. vs. 39, 63 f., 1238, 
1298 f., 1442 f. (G. 154, H. 995 with 
C).— ἡμῖν ὥρισεν : he marked out for 
us. Of. the mid. v. 969, The pl. ἡμῖν, 
not for the sing., but to include Iphi- 
genia, as Orestes goes on to say (καὶ 
σὲ κτλ. VS. 981 f.). — σύμπραξον : help 
to achieve. 

983 f. ὦ κασίγνητον κάρα: inter- 
rupting φιληθεῖσα (instead of κασι- 
γνήτη).--- Cf. ὦ κοινὸν αὐτάδελφον 
Ἰσμήνης κάρα Soph. Ant. 1. There 
is no counterpart in English to κάρα 
and κεφαλή, as here employed. — 
σῶσον ... ἔκσωσον : anaphora with 


144 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


» > \ An 
985 ws Tap’ ὄλωλε πάντα Kal Ta Πελοπιδῶν, 


οὐράνιον εἰ μὴ ληψόμεσθα θεᾶς βρέτας. , 


ΧΟΡΟΣ. 


’ὔ > εν / 3 ’ 
δεινή τις ΟΡΎἢ δαιμόνων ἐπέζεσεν 


Ν / “6 ἐν , 3 » 
τὸ Ταντάλειον σπέρμα διὰ πόνων T ἄγει. 


IPITENEIA. 


"ἃ Ὰ ’ὔ Fd AS 3 A » 
TO μὲν πρόθυμον, πριν σε δεῦρ ἐλθεῖν, EXw 


990 Αργει γενέσθαι καὶ σέ, σύγγον᾽, εἰσιδεῖν, 


4 5 ν vA Κι ”~ Ψ F 
θέλω δ᾽ ἅπερ σύ, σέ TE μεταστῆσαι πόνων 


nA »-- 9 5 \ an ns 
VODOUVTA T οἶκον, οὐχὶ τοῖς κτανοῦσί με 


» ‘fn 3 ων iy 
θυμουμένη, πατρῷον ὀρθῶσαι πάλιν 


σφαγῆς τε γὰρ σῆς χεῖρ᾽ ἀπαλλάξαιμεν ἂν 


» 
995 σώσαιμί T οἴκους. 


τὴν θεὸν δ᾽ ὅπως λάθω 


δέδ \ , C Pipa Ἂς \ 
EOOLKA Και TUPQVVOP, YVULK αν KEVaS 


variation of form; cf. vs. 1018 f.,, 
1059. Freq. in Sophocles; cf. φίλη 
μὲν ἥξειν πατρί, προσφιλὴ " δὲ col, | 
μῆτερ, φίλη δὲ σοί, κασίγνητον κάρα 
Ant. 898. No variation of meaning 
is intended. 

985 f. os... πάντα : since it is utter 
ruin to me. — καὶ τὰ Πελοπιδῶν : a tri- 
brach in the fifth foot has a retarding 
effect upon the flow of the verse, and 
is of comparatively rare occurrence. 
- οὐράνιον : the same thought as in 
διοπετές V. 977. 

987 f. σπέρμα: const. with the two 
verbs in common, though ἐπέζεσεν 
alone would require the dative. 

989. τὸ μὲν πρόθυμον : correlative 
to τὴν θεὸν δὲ κτλ. v. 995. She has 
had the will from the beginning, but 
the deed may not prove easy of ac- 
complishment. — ἔχω : gets the sense 
of a pf. and pres. combined, from πρὶν 
... ἐλθεῖν. See G. 200; H. 826. 


991-993. θέλω δὲ κτλ.: amplifies — 


and specifies τὸ πρόθυμον ἔχω (v. 989), 
which was said comprehensively, as 
v. 990 shows. And 1 desire the same 
ends as γοῖι. --- σέ τε κτλ.: explana- 
tory of ἅπερ σὺ (θέλει5), TE... τέ 
being correlative. — οὐχὶ . . . θυμου- 
μένη : cherishing no resentment against 
my slayers (viz. her father). 

994. γάρ: for thereby. A special 
motive is here given for θέλω δ᾽ ἅπερ 
av (v. 991): viz. σφαγῆς σῆς χεῖρ᾽ 
ἀπαλλάξαιμεν ἄν. The performance of 
her duty as priestess would involve 
a crime. The second clause, σώ- 
σαιμί τ᾽ οἴκους, though grammatically 
parallel to the first (τέ... τέ), is in 
effect nothing but a perfectly natural 
repetition of οἶκον ὀρθῶσαι vs. 992 f. 
“Besides saving the family.” 

995-997. θεόν, τύραννον: both 
nouns are governed grammatically 


by λάθω and δέδοικα in common. In - 


᾿' ν᾽ γ 
=. bal 
ieee | 


IPHIGENIA AMONG THE TAURIANS. 145 


κρηπῖδας εὕρῃ λαΐνας ἀγάλματος. 


lat > 3 lat , 3 » ,ὕ ’ὔ 
πῶς δ᾽ οὐ θανοῦμαι; τίς δ᾽ ἔνεστί μοι λόγος; 


3 3 3 Ν ν ΧΕ la) / 
ἀλλ᾽ εἰ μὲν ἕν τι τοῦθ᾽ ὁμοῦ γενήσεται, 


» , 9 » μι. ἀν 3 9 , \ 
1000 ἀγαλμά T OLOELS καμ ET εὐπρύμνου νεὼς 


¥ ~ ,ὔ , ’ 
ἄξεις, τὸ κινδύνευμα γίγνεται Kaddv: 


΄, Ν A SS oe \ » 
τούτου δὲ χωρισθεῖσ᾽ ἐγὼ μὲν ὄλλυμαι, 


Ν 3 x Ν ἴω 4 > , / 
Ou ὃ αΨ ΤΟ σαυτου θέμενος ευ VOOTOU τυχοις. 


3 , , > »Q 7 > > an , 
ov μήν τι φεύγω γ᾽ οὐδέ pw εἰ θανεῖν χρεών, 


1005 σώσασά σ᾽" οὐ γὰρ ἀλλ᾽ ἀνὴρ μὲν ἐκ δόμων 


θανὼν ποθεινός, τὰ δὲ γυναικὸς ἀσθενῆ. 


reciting, the pause comes after δέ- 
Sowa, as the clause ἡνίκα κτλ. shows. 
— Anticipation (prolepsis) is very 
common with a verb of fearing; οὐ 
δέδοικα δ᾽ αὐτὴν μή τι βουλεύσῃ νέον 
Med. 37.— ὅπως λάθω : indirect ques- 
tion; see GMT. 46, n. 6 c (last ex- 
ample). 

998. tis... λόγος : what is it pos- 
sible for me to say? Viz. in explana- 
tion of the disappearance of the idol. 

999-1006. Iphigenia resolves to 
save her brother and his fortunes, 
though she herself perish in the un- 
dertaking. 

999-1003. The alternatives, intro- 
duced by εἰ μέν (v. 999) and τούτου δέ 
(vy. 1002), are her own deliverance or 
her death. The escape of Orestes 
with the image is to be effected in 
either event. 

999-1001. ἀλλά: however. This 
word marks the transition to a de- 
termined purpose, after the utterance 
of perplexity in v. 998. A conclu- 
sive turn of any sort is indicated by 
ἀλλά. Cf. vs. 636, 699, 979 (eight 
lines in conclusion, as here). — εἰ μὲν 
κτλ.: ‘if these two things can be 
done together,— if you can both 
carry off the image and take me, 


” 


etc.” —év te... γενήσεται: the subj. 
is τοῦτο, sing. by assimilation to the 
pred. ἕν τι. --- ἄγαλμα τ᾽ οἴσεις kal... 
ἄξεις: explanatory of τοῦτο γενήσε- 
ται. Cf. vs. 488 1. ---εὐπρύμνου νεώς: 
Iphigenia has remembered πολυκώπῳ 
σκάφει V. 981. --- γίγνεται : here, as so 
often, nearly equivalent to ἃ pas- 
sive. ‘Then is the venture nobly 
won,” 

1002 f. But reft of this, I, to be sure, 
am lost, but you will successfully accom- 
plish your own purpose and gain a safe 
return, — τούτου δὲ χωρισθεῖσα: in 
form, adapted to ἐγὼ μὲν ὄλλυμαι Only, 
but belonging in sense and position 
also to σὺ δὲ κτλ. --- The meaning is 
the same, whether τούτου be taken 
as referring to τοῦτο (v. 999) or to 
ἄγαλμα (v. 1000), but the word χωρισ- 
θεῖσα shows that the speaker thinks 
of the image. She expects to meet 
with little difficulty in packing that 
off, but anticipates much in escaping 
with it herself.—e¥: construe with 
θέμενος. 

1004-1006. εἰ θανεῖν χρεών: after 
φεύγω, instead of simply θανεῖν. ‘* Yet 
even though I must die I shrink not 
from it.”’—owdcacd oe: provided I 
save you. Conditional participle. — οὐ 


140 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΟΡΕΣΤΗΣ. 


ων \ 
οὐκ ἂν γενοίμην σοῦ TE καὶ μητρὸς φονεύς" 


Ψ Ἂ ’ὔ ie / ἃς \ 
ἅλις τὸ κείνης αἷμα: κοινόφρων δὲ cot 


καὶ ζην θέλοιμ᾽ ἂν καὶ θανὼν λαχεῖν ἴσον. 


ΕἾ , 3 ν SeXy > - Ψ' 
1010 ἄξω δέ O, ἥνπερ καυτος ἐνταυθοι πέσω, 


Ν > XK “ \ ω ld 
προς OLKOV, ἢ σου κατθανὼν μένω μέτα. ΚΧ. 


γνώμης δ᾽ ἄκουσον" εἰ πρόσαντες ἦν τόδε 


᾿Αρτέμιδι, πῶς ἂν Λοξίας ἐθέσπισεν 


κομίσαι μ᾽ ἄγαλμα θεᾶς πόλισμ᾽ εἰς Παλλάδος 


\ 9 A Ψ ; Ν 
1015 καὶ σὸν πρόσωπον εἰσιδεῖν; ἅπαντα γὰρ 


συνθεὶς τάδ᾽ εἰς ἕν νόστον ἐλπίζω λαβεῖν. 


ISITENEIA. 


an = , 2 x Y 22) ἐς κ A 
πως OUV YEVOLT αν WOTE μήθ μας θανεῖν, 


γὰρ ἀλλά: for πο! Cf. οὐ μὴν ἀλλάν. 
630. — ποθεινός : missed. — τὰ γυναι- 
Kos: woman ; more general than γυνή, 
and more so than ἀνήρ in v. 1005 
(“aman”). 

1007-1009. οὐκ ἂν γενοίμην : the 
potential opt. makes a forcible nega- 
tion, because it means I will, and not 
I shall. Cf. v. 717.— κοινόφρων δὲ σοί: 
but of one mind with thee. — θέλοιμ᾽ av: 
I choose. The potential construction 
is continued. 

Of self-sacrificing women Euripides 
has furnished more than one illustri- 
ous example; but in this play we find 
even self-sacrificing men. 

1010 f. The declaration just made 
is repeated in more specific terms. — 
ivrep...meow: so surely as I get there 
myself. —Kal αὐτός : for the idiomatic 
kal, cf. v. 592. — πεσω: of a change 
of state; see on v. 730, and cf. ἐν νηὶ 
παλιμπετὲς ἀπονέωνται Hom. e 27. 

1012-1016. Orestes, who is the de- 
spondent sceptic no longer, offers his 
reasons for believing that the will of 


Artemis herself is to be served by © 
their undertaking. 

1012. γνώμης : what I think. — πρόσ- 
αντες : unacceptable. ἄντην : προσάντης 
“up-hill,” κατάντης “ down-hill.” Ores- 
tes urges that a conflict between the 
will of Apollo and the will of Apol- 
lo’s sister Artemis is impossible. 

1014. πόλισμ᾽ εἰς ΠΠαλλαδος : see 
on δέρῃ πρὸς ἀνδρός v. 1460. 

1015. καὶ σὸν πρόσωπον εἰσιδεῖν : 
certainly a very important result of 
the oracle, if not intimated in the 
words of the god; see on v. 86, and ef. 
vs. 1438-1441. —aravra: if, as is 
generally believed, a portion of Ores- 
tes’ argument has been lost from the 
text after v. 1014, then we have not be- 
fore us all that was here summed up. 

1016. Putting all this together, I am 
led to hope, etc. 

1017-1019. πῶς οὖν γένοιτ᾽ ἄν: 
how then can it be managed ? — τῇδε 
KTA.: here is the difficulty in the journey 
home; this is the subject for our delib- 
eration. —ryde . . . ἥδε: for the anaph- 


an? 


IPHIGENIA AMONG THE TAURIANS. 


147 


λαβεῖν θ᾽ ἃ βουλόμεσθα; τῇδε γὰρ νοσεῖ 
‘4 Ν » ν , , 
νόστος πρὸς οἴκους - ἥδε βούλευσις Tapa. 


ΟΡΕΣΤΗΣ. 


1020 dp ἂν τύραννον διολέσαι δυναίμεθ᾽ av; 


ΙΦΙΓΕΝΕΊΑ. 


δεινὸν τόδ᾽ εἶπας, ξενοφονεῖν ἐπήλυδας. 


ΟΡΕΣΤΗΣ. 


5» > > \ ’ 5 ’ 7 
ἀλλ᾽ εἰ σὲ σώσει κἀμέ, κινδυνευτέον. 


IPITENEIA. 


> x , ‘ Ν ,ὕ » 
ουκ QV δυναίμην, ΤΟ δὲ πρόθυμον ηνεσα. 


ΟΡΕΣΤΗΣ. 


τί δ᾽, εἴ με ναῷ τῷδε κρύψειας λάθρα; 


IPITENEIA. 


1025 ὡς δὴ σκότος λαβόντες ἐκσωθεῖμεν av; 


ΟΡΕΣΤΗΣ. 


κλεπτῶν γὰρ ἡ νύξ, τῆς δ᾽ ἀληθείας τὸ φῶς. 


ora, see on v. 984. Observe the ex- 
plicitness of statement in these transi- 
tional lines. 

1021. δεινὸν τόδ᾽ εἶπας : a shocking 
proposal, Of. δίκαιον εἶπας v. 740. 

1023. Nay I cannot consent, though 
I must approve your zeal. —ov« ἂν δυ- 
ναίμην : sc. ξενοφονεῖν. For δύνασθαι in 
a moral sense, cf. οὔτ᾽ ἂν δυναίμην μήτ᾽ 
ἐπισταίμην λέγειν Soph. Ant. 686. 

Iphigenia naturally declines to con- 
nive at the destruction of the foreign 
king, to whom she has stood in hos- 
pitable and friendly relations. The 
death of ‘Thoas formed a part of some 


of the other dramatizations of this 
subject, but we do not know under 
what circumstances it was brought 
about. 

1025. That we may take advantage 
of the dark, you mean, to make good our 
escape? (i.e. with the booty).— ὡς : 
for ὥστε, as often. 

1026. Ay, night is the time for thieves, 
even as for truth the light of day. Cf 
κλέπτῃ δέ Te νυκτὺς ἀμείνω Hom. Γ 11, 
said of the fog. The second part of 
the line, τῆς δ᾽ ἀληθείας τὸ φῶς, illu- 
minates the maxim by its antithetic 
effect, 


148 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΈΝΕΙΑ. 


IPITENEIA. 


¥ 9 » ε ol , ἃ 3 , 
Elo ἔνδον ἱεροῦ φύλακες, ovs οὐ λήσομεν. 


ΟΡΕΣΤΗΣ. 


οἴμοι διεφθάρμεσθα: πῶς σωθεῖμεν ἄν; 


IPITENEIA. 


¥ las Ν 3 ᾽’ὔ Ft 
EK ELV δοκῶ μοι καινον ἐξεύρημά Tl. 


OPESTHS. 


1030 ποῖόν τι; δόξης peTddos, ws κἀγὼ μάθω. 


IPITENEIA. 


ταῖς σαῖς ἀνίαις χρήσομαι σοφίσμασιν. 


ΟΡΕΣΤῊΗΣ. 


δειναὶ γὰρ αἱ γυναῖκες εὑρίσκειν τέχνας. 


ΙΦΙΓΕΝΕΙΑ. 


φονέα σε φήσω μητρὸς ἐξ “Apyous μολεῖν. 


OPESTHS. 


χρῆσαι κακοῖσι τοῖς ἐμοῖς, εἰ κερδανεῖς. 


IPITENEIA. 


1035 ὡς ov θέμις σε λέξομεν θύειν θεᾷ, i 


1027. The second proposal is thus 
dismissed, not too abruptly. Obs. 
four lines for each of the two rejected 
propositions. At its close, also, the 
dialogue tends to fall into quatrains. 

1030. δόξης: adapted to δοκῶ v. 
1029. For μετάδος, cf. εἰς τὸ κοινὸν δούς 
ν. 679. 

1031 f. σοφίσμασιν: for a crafty 
scheme. Pred. noun. — δειναὶ evpio- 
kev: clever at inventing. 

1033 f. μολεῖν : in English simply 
“are”; see on ἥκουσι Vv. 268. --- εἰ κερ- 


Savets: if you expect to win byit. The 
κέρδος will counteract the δυσφημία. 
Cf. δοκῶ μέν, οὐδὲν ῥῆμα σὺν κέρδει 
κακόν (“of evil omen”) Soph. El. 61; 
κακὸς μὲν ὄρνις (““omen”)+ εἰ δὲ κερ- ' : 
δανῶ λέγων, | ἕτοιμός εἶμι μὴ θανὼν - 
λόγῳ θανεῖν Hel. 1051. ; 
1035 f. ὡς οὐ θέμις : 86. ἐστί. ---- αἷ- 
τίαν ἔχουσα: αἰτίαν ἔχειν, besides 
meaning to “be to blame,” ete., some- 
times means to “have a reason to 
give,” as here; cf. ἢ συγγενὴς Sy, ἢ. 
τίν αἰτίαν ἔχων; Hec. 1208. 


IPHIGENIA AMONG THE TAURIANS. 


149 


OPESTHS. 


s 9 ae ¥ > ε ΄ , 
τιν QLTLAVY EKXOVO ; UTOTITEVM TL Yap. 


IPITENEIA. 


ov καθαρὸν ὄντα, τὸ δ᾽ ὅσιον δώσω φόνῳ. 


ΟΡΕΣΤΗΣ. 


τί δῆτα μᾶλλον θεᾶς ἀγαλμ᾽ ἁλίσκεται; 


IPITENEIA. 


πόντου σε πηγαῖς ἁγνίσαι βουλήσομαι. 


ΟΡΕΣΤΗΣ. 


1040 ἔτ᾽ ἐν δόμοισι βρέτας, ἐφ᾽ ᾧ πεπλεύκαμεν. 


IPITENEIA. 


» “~ , A ’ὔἢ ν 5 “~ 
κἀκεῖνο νίψαι, cov θιγόντος ws, ἐρῶ. 


ΟΡΕΣΤΗΣ. 


a tal , . > ¥ J 
ποῖ δῆτα; πόντου νοτερὸν εἶπας ἔκβολον ; 


ΙΦΙΓΕΝΕΙΑ. 


οὗ ναῦς χαλινοῖς λινοδέτοις ὁρμεῖ σέθεν. 


1037. The sentence begun in vy. 
1035 is continued. Because you are 
unclean, whereas I am to consign to 
slaughter only what is pure. — 8c: 
depends on ὡς vy. 1035. 

1039. βουλήσομαι: 1 shall wish. 
The future by assimilation to λέξο- 
μεν v. 1035, and δώσω v. 1037: for 
φήσω βούλεσθαι. 

1040. Interposed in a critical tone, 
like y. 1038. Dramatically such in- 
terruptions indicate impatience, won- 
der, or some similar feeling; artisti- 
cally, the stichomythia in this way 
retards the mental movement, and 
reflects the progress of ideas in the 
mind of the spectator, instead of hur- 
rying his wits—an art well under- 


stood in the ‘minstrel business’ of 
the present day.—éq’ ᾧ : dat. for the 
usual accusative ; cf v. 1205. 

1041. κἀκεῖνο νίψαι : “and to wash 
it.” Const. with βουλήσομαι v. 1039.— 
σοῦ... ὥς: ‘tamquam ate tac- 
tam,.’—épa: as 7 shall declare. The 
verb is appended or parenthetic. 

1042. ποῖ δῆτα : whither pray? πόν- 
του πηγαῖς (Vv. 1059) has suggested 
going somewhere, for the purpose 
mentioned. — εἶπας : do you mean? — 
ἔκβολον : “inlet” we should say. Cf. 
ἐκπίπτειν. 1196, where it appears that 
there was a beach close by the tem- 
ple. 

1043. In effect a negative answer 
to Orestes’ question. A more remote 


150 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


OPESTH2. 


σὺ δ᾽ 7 τις ἄλλος ἐν χεροῖν οἴσει βρέτας; 


IPITENEIA. 


, 


3 κω Ν ν , 5 5 3 y , 
1045 εγω" θιγεῖν yap οσιον ἐστ εμου μονῇ. 


ΟΡΕΣΤΗΣ. 


Πυλάδης δ᾽ ὅδ᾽ ἡμῖν ποῦ τετάξεται φόνου; 


IPITENEIA. 


SPN aA \ , , > » 
ταὐτὸν χεροῖν σοὶ λέξεται μίασμ᾽ ἔχων. 


ΟΡΕΣΤΗΣ. 


λάθρᾳ δ᾽ ἄνακτος ἢ εἰδότος δράσεις τάδε; 


ΙΦΙΓΕΝΕΙΑ. 


πείσασα μύθοις - οὐ γὰρ ἂν λάθοιμί γε. Sl 


- δ 


ΟΡΕΣΤΗΣ. 


Ἂν Ἄ / Vd oN , 
1050 καὶ μὴν νεώς ye πίτυλος εὐήρης Tapa. 


IPITENEIA. 


σοὶ δὴ μέλειν χρὴ TaN ὅπως ἔξει καλῶς. 


locality than the one he seems to 
have meant is to be selected. An ex- 
cuse therefor is given in νυν. 1197. -- 
χαλινοῖς : the ship is conceived as a 
steed; cf. νηῶν ὠκυπόρων ἐπιβαινέμεν, 
a? ards ἵπποι ἀνδράσι γίγνονται 
Hom. ὃ 708. 

1046. But what place is Pylades here 
to have in our tale of bloodshed ? — ἡμῖν : 
ethical dative. — φόνου : partitive gen. 
with ποῦ. Cf. ὅποι χθονός v. 119. 

1047. Thoas will be given to under- 
stand that the two are brothers; cf. v. 
1179. ---᾿λέξεται ἔχων: the participle 
with a verb of saying is rare; cf. 
μηδέ με ζῶσαν λέγε El. 687. With 


this construction, λέγειν approaches 
the meaning of καλεῖν. “ He shall be 
described as having.” For the fut. 
mid. as passive, see H. 496. 

1048. ἢ εἰδότος : read with syni- 
zesis. 

1050. Well, our ship at least is there 
with handy oar. — νεὼς πίτυλος : poeti- 
cally for the vessel itself; cf. vs. 1994, 
νεὼς μὲν πίτυλος εἷς λελειμμένος (1.6. 
ναῦς μία) Troad, 1128, For πίτυλος, 
see on v. 307. 

1051. τὰ ἄλλα: viz. the embarca- 
tion and flight, after the priestess has 
performed her part and they have 
arrived at the ship. 


IPHIGENIA AMONG THE TAURIANS. 


151 


ΟΡΕΣΤῊΗΣ. 


ἑνὸς μόνου δεῖ, τάσδε συγκρύψαι τάδε. 


ἀλλ᾽ ἀντίαζε καὶ λόγους πειστηρίους 


Ψ 3 
ευρισκ΄' 


ἔχει τοι δύναμιν εἰς οἶκτον γυνή. 


τοδδ τὰ δ᾽ ἀλλ᾽ ἴσως ἂν πάντα συμβαίη καλῶς. 


IPITENEIA. 


ὦ φίλταται γυναῖκες, εἰς ὑμᾶς βλέπω, 


Ν Vile Φ > EP oe 3 ᾿ “ἡ κι »» 
καὶ ταμ ἐν ὑμῖν ἐστὶν ἢ καλῶς ἔχειν 


x \ > Ν al , 
ἢ μηδὲν εἶναι καὶ στερηθῆναι πάτρας 


φίλου τ᾽ ἀδελφοῦ φιλτάτης τε συγγόνου. 


1060 καὶ πρῶτα μέν μοι τοῦ λόγου τάδ᾽ ἀρχέτω: 


γυναῖκές ἐσμεν, φιλόφρον ἀλλήλαις γένος, 


14 Ν , > 5 λέ 
σῴζειν τε κοινὰ πράγματ ἀσφαλέσταται. 


σιγήσαθ᾽ ἡμῖν καὶ συνεκπονήσατε 


φυγάς. 


1052. τάσδε κτλ. : “ that our friends 
here keep the secret with us.” The 
confidence of the chorus came to be a 
most important matter in plays of in- 
trigue, like the present tragedy, hence 
the Horatian precept: ille tegat 
commissa Ars. Poet. 200. 

1053 f. ἀλλά: see on v. 999. --- τοί: 
‘gnomic’ particle, so called from its 
freq. use in maxims; cf. vs. 650, 1064. 
—els οἶκτον : “to move the feelings.” 

1055. The response to v. 1051. 

1057-1059. My fate is in your hands, 
whether to be happy or to come to nought, 
etc. — τἀμά: the subj. of ἐστίν by 
anticipation, in sense also the subj. 
of the infinitives that follow. —ote- 
ρηθῆναι κτλ.: these words show that 
τἀμά is felt as completely: identical 
with ἐμέ (ἐγώ). --- φίλου... φιλτάτης : 


no significant difference is intended, 


’ “ > [7 Ἀ A 
καλὸν TOL yAwoo ὁτῳ πιστὴ παρῇῃ. 


although the effect of a climax is 
gained. Electra is not forgotten 
here as at v. 898; the argument is 
of a different sort. 

1060. And first now, let this be the 
beginning of my appeal.—mpara μέν : 
no correlative is expressed. — rade: 
explained by vs. 1061 f. 

1061 f. yévos: sex; cf. v. 1298. --- 
σῳΐειν κτλ.: and very sure at keeping 
mutual secrets. Considerable ground 
is covered by the powers that have 
thus far been attributed to ‘the sex’; 
cf. vs. 1054, 1032, 1006. 

1064. ὅτῳ: instead of ἤν τῳ; cf. Vv. 
606. For the omission of ἄν, see GMT. 
63, 1 6. By the arrangement here 
somewhat of the same effect is pro- 
duced as by saying καλὸν γλῶσσα 
πιστή (“ A fine thing is a trusty 
tongue’’). 


152 


ΕΥ̓ΡΙΠΙΔΟΥ I®IVENETA. 


ε ~ > ε “ ’, 4 Ἂς , 
1065 ὁρᾶτε δ᾽ ws τρεῖς μία τύχη τοὺς φιλτάτους, 
ἢ γῆς πατρῴας νόστος ἢ θανεῖν, ἔχει. 


ἴω > ε “Δ Ν Ἂς “~ , 
σωθεῖσα ὃ. ως QV καὶι συ κοινωνῇ ς τυχῆς, 


σώσω σ᾽ ἐς Ἑ). λλάδ᾽. 


ἀλλὰ πρός σε δεξιᾶς, 


Ν Ἁ Jane A \ Ν , ’ 
σὲ καὶ σ᾽ ἱκνοῦμαι, σὲ δὲ φίλης παρηΐδος 
1070 γονάτων τε καὶ τῶν ἐν δόμοισι φιλτάτων. 


τί φατέ; τίς ὑμῶν φησὶν ἢ τίς οὐ θέλει, 


φθέγξασθε, ταῦτα; μὴ γὰρ αἰνουσῶν λόγους 


5, 5 Ν \ ἮΝ ’ὔὕ 
ολωλα κἀγὼ καὶ κασίγνητος τάλας. 


ΧΟΡΟΣ. 


1075 θάρσει, φίλη δέσποινα, καὶ σῴζου μόνον. 


ὡς ἔκ γ᾽ ἐμοῦ σοι πάντα σιγηθήσεται, 


» , ᾿ "4 a > 4 A 
(ἔστω μέγας Ζεύς), ὧν ἐπισκήπτεις πέρι. 


IPITENEIA. 


ὄναισθε μύθων καὶ γένοισθ᾽ εὐδαίμονες. 


ἣν » ἡ ὃ \ Ν > , δό 
σον εβργον 7) i] και σον εἰσβαίνειν ομους 


1080 ὡς αὐτίκ᾽ ἥξει τῆσδε κοίρανος χθονός, 


’ὔ 3 ’ὕ 3 4 - 
θυσίαν ἐλέγξων εἰ κατείργασται ἕένων. 


1065 f. τρεῖς pla: see on v. 621.— 
γῆς νόστος: objective gen. with the 
noun, like an acc. with a verb, de- 
noting limit of motion. Cf ἐπιμαίεο 
νόστου | γαίης Φαιήκων Hom. ε 
844͵ --- ἔχει: “awaits.” Three per- 
sons bound up in one destiny. 

1067-1069. ὡς dv: G.612, n.2; H. 
882. --- πρός oe δεξιᾶς : const. σέ with 
ἱκνοῦμαι. For its position (here idio- 
matic) see on v. 679. The Latin has 
the same idiom; cf. per té deos 
oro et nostram amicitidm, 
Chremes Ter. Andr. iii. 3. 6.—oé 
καὶ σὲ «7A.: addressing individual 
members of the band separately. 
To what extent the action here 
indicated was carried out in the 


representation, we cannot tell. See 


p. 38, fin. 

1071f. φησίν: ait, “says ay.” — οὐ 
θέλει ταῦτα : is not in favor of this. — 
φθέγξασθε : speak up! Parenthetical. 
The expression implies a pause preced- 
ing it, and impatience to hear the re- 
sponse of the coryphaeus. — μὴ αἰνου- 
σῶν λόγους : ἣν μὴ αἰνῆτε τοὺς ἐμοὺς 
λόγους. “ Unless you yield assent.” 

1077. ἴστω Ζεύς : witness Zeus ! — 
av: the antecedent is πάντα v. 1076. 

1078. ὄναισθε μύθων: “bless you 
for your words!” For the gen., see 


G.170,2; H. 740. © eee 
1079-1081. Addressed to Orestes 


and Pylades, who withdraw into the 
temple.— θυσίαν κτλ. : ‘anticipation, — 


IPHIGENIA AMONG THE TAURIANS. 


153 


ὦ πότνι᾽, ἥπερ μ᾽ Αὐλίδος κατὰ πτυχὰς 


δεινῆς ἔσωσας ἐκ πατροκτόνου χερός, 


“~ ’ ἃ “~ 4 > x» Ν ’ 
σῶσόν με καὶ νῦν τούσδε T* ἢ τὸ Λοξίου 


1085 οὐκέτι βροτοῖσι διὰ σ᾽ ἐτήτυμον στόμα. 
ἀλλ᾽ εὐμενὴς ἔκβηθι βαρβάρου χθονὸς 


εἰς τὰς ᾿Αθήνας - καὶ γὰρ ἐνθάδ᾽ οὐ πρέπει 


4 , / ¥ 5 ,ὕ 
ναίειν, παρόν σοι πόλιν ἔχειν εὐδαίμονα. 


"4 


ΧΟΡΟΣ. 


ὄρνις, ἃ παρὰ πετρίνας 


1090 πόντου δειράδας, ἁλκυών, 


ἔλεγον οἰκτρὸν ἀείδεις, 


1082-1088. Prayer to the goddess. . 
Thereafter Iphigenia herself enters 
the temple. 

1082 f. Our blessed Lady, thou who 
in Aulis’ vales didst save me from 
a father’s fell destroying hand.—-ma- 
τροκτόνου: the word taken by itself 
hardly bears analysis for the mean- 
ing required, but we believe never- 
theless that Euripides wrote the line 
exactly as it stands. 

1084 f. ἢ τὸ Λοξίου... στόμα: “else 
must the lips of Phoebus lose their 
truth to mortal men, through thee!” 

1088. εὐδαίμονα : the word is very 
_apt in the present connexion, besides 
being a current epithet of Athens, 
‘city of the gods,’ δαιμόνιον πτολίεθρον. 


VI. Seconp Srasimon, vs. 1089- 


1152. 
‘The chorus gives voice to regret- 
ful reminiscences of Hellas (first 
strophe), and sad reflections on the 


Ἵ Ν: _ fate that brought the women as cap- 


tives to their service among the Tau- 


στροφὴ a’. 


rians (first antistrophe). They pic- 
ture the prospective happy escape of 
the priestess (second strophe), 
whereas her servants can cherish 
only wish and hope (second an- 
tistrophe).— For the metre, see 
p. 48. 


(First Strophe.) 


1089-1093. As the nightingale — 
the fable of Philomela and Itys— 
appears repeatedly in Greek poetry 
as a type of human sorrow, so here 
the plaintive halcyon is invoked, from 
the legend of Ceyx and Alcyone. In 
epic story, Cleopatra, the wife of Me- 
leager, had borne, when a child, the 
name Alcyone, in remembrance of 
her mother’s sorrows: τὴν δὲ τότ᾽ ἐν 
μεγάροισι πατὴρ καὶ πότνια μήτηρ | A λ- 
κυόνην καλέεσκον ἐπώνυμον, οὕνεκ᾽ ἄρ᾽ 
αὐτῆς | μήτηρ ἀλκνόνος πολυπεν- 
θέο ς οἶτον ἔχουσα | kAat’, ὅτε μιν ἑκά- 
εργος ἀνήρπασε Φοῖβος ᾿Απόλλων Hom. 
1 561. 

1091. Chantest a plaintive ditty. 


ΠΝ τον ΕὙΡΙΠΙΔΟΥ ΙΦΙΤΈΝΕΙΑ. 


εὐξύνετον ἕξυνετοῖσι βοάν, 


[77 , A So A 
OTL πόσιν κελαδεῖς ἀεὶ μολπαῖς, 
> , 4 ’ A »” 
1095 ἐγώ σοι παραβάλλομαι θρήνους, ἄπτερος ὄρνις, 
ποθοῦσ᾽ “Ἑλλάνων ἀγόρους, ποθοῦσ᾽ Αρτεμιν ὀλβίαν, 
ἃ παρὰ Κύνθιον ὄχθον οἰκεῖ φοίνικά θ᾽ ἁβροκόμαν 
1100 δάφναν τ᾽ εὐερνέα καὶ γλαυκᾶς θαλλὸν ἱρὸν ἐλαίας, 
Λατοῦς ὠδῖνα φίλαν, λίμναν θ᾽ εἱλίσσουσαν ὕδωρ 
4 ¥ 4, ~ ως Ψ ᾿ς 
1106 κύκλιον, ἔνθα κύκνος μελῳδὸς Μούσας θεραπεύει. 


1092 f. «εὐξύνετον ξυνετοῖσι: right 
well known to knowing ones. Viz. to 
such as know how to sympathize with 
a tale of woe.— ὅτι... μολπαῖς : that 
ἢ is thy spouse thou singest in tuneful 
strains for aye. The clause depends 
upon εὐξύνετον. ---- Alcyone, the wife 
of Ceyx king of Trachis, was about 
to cast herself into the sea on recog- 
nizing the body of her drowned hus- 
band in the waves, when both were 
transformed into sea-birds (Ovid 
Met. xi. 715).— κελαδεῖς : κέλαδος v. 
1129, κελαδεῖν (celebrare). Of. 
τίνα θεόν, τίν᾽ ἥρωα, τίνα δ᾽ ἄνδρα κε- 
λαδήσομεν; Pind. Ol. ii. 2. 

1094 f. ἐγὼ ... θρήνους : mourning 
to match with thine have I.— Note 
the mid. παραβάλλομαι. ---- ἄπτερος ὄρ- 
vis: the ‘limiting’ epithet, to ex- 
plain or justify a metaphor, is most 
common in Aeschylus; cf. δίπους 
λέαινα Ag. 1258 (of Clytaemnestra). 
Naive poesy is wont to be explicit 
on a point like this; cf ‘Wenn 
ich ein Voglein wir’,| Und auch 
zwei Fliigel hatt’, | Flog ich zu 
dir.’ 

1096 f. ἀγόρους: equiv. to ἀγοράς. 
—"Aprepiv ὀλβίαν : Artemis the blest. 
1... the Grecian goddess, not Artemis 
of the Taurians. 

1098-1105. The Cynthian hill, 
the palm, the bay, and the olive 


tree, and the ‘circling mere’ were fa- 
miliar features of the legend of the 
birth of Leto’s children in the isle of 
Delos. Observe the numerous orna- 
mental epithets. 

1102 f. Λατοῦς ὠδῖνα φίλαν : “fond 
stay of Leto’s travail.” ‘Euripides 
audacius partum Latonae dix- 
isse videtur arborem, cui ob- 
nixa peperit Apollinem et 
Dianam.’ Cf. Φοῖβε ἄναξ, ὅτε μέν σε 
θεὰ τέκε πότνια Λητώ, | φοίνικος ῥαδι- 
νῆς χερσὶν ἐφαψαμένη, ἀθανάτων κάλ- 
λιστον ἐπὶ τροχοειδέϊ λίμνῃ Theogn. 5. 
—Alpvay . .. ὕδωρ κύκλιον : and the 
mere that whirls its water circling round. 
ἡ ἐν Δήλῳ ἡ Τροχοειδὴς καλεομένη Hat. | 
ii. 170. 

1105. κύκνος μελῳδός : the singing 
swan. Sacred to Apollo and the Ξε, 
Muses. His voice, we are told, is 
not plaintive like the halceyon’s, but 
sweet and melodious as the flute or 
harp (Oppian),—the clear, ringing 
tone of ‘silver bells.” Cf. οὐδέν σ᾽ ἃ 
φόρμιγξ ἃ Φοίβου σύμμολπος- 
τόξων ῥύσαιτ᾽ ἄν: | πάραγε πτέρυγας, | 
λίμνας ἐπίβα Tas Δηλιάδος.] 
αἱμάξεις, εἰ μὴ πείσει, Tas καλλι- 
φθόγγους ῳδάς Ion 164, said by 
Ion to a swan that he threatens with 
his bow and arrows. —roidde κύκνοι 

. ξυμμιγὴ βοὴν ὁμοῦ | πτεροῖς κρέ- ~ 
κοντες ἴακχον ᾿Απόλλωι Ar. Avg 


IPHIGENIA AMONG THE TAURIANS. 


ὦ πολλαὶ δακρύων iBddes, 


ἃ ’ὔ 5 a ae 
ai παρηίδας εἰς ἐμὰς 
ἔπεσον, ἁνίκα πύργων 


155 


ἀντιστροφὴ α΄. 


ὀλλυμένων ἐπὶ ναυσὶν ἔβαν 


1110 πολεμίων ἐρετμοῖσι καὶ λόγχαις, 
ζαχρύσου δὲ dv ἐμπολᾶς νόστον βάρβαρον ἦλθον, 
» ~ 3 / “A > , , 7 
ἔνθα tas ἐλαφοκτόνου θεᾶς ἀμφίπολον κόραν 

1115 παῖδ᾽ Αγαμεμνονίαν λατρεύω βωμούς θ᾽ Ἑλληνοθύτας, 


al ᾽ιΨ ᾿ς Ν ’ 3 5 Ν 5 ’ 
ζηλοῦσ᾽ ἄταν διὰ παντὸς δυσδαίμον᾽ - ἐν γὰρ ἀνάγκαις 


1120 οὐ κάμνει σύντροφος ὧν μεταβάλλειν δυσδαιμονίαν: 
‘\ Ν 3 > ’ὔ ΄“ ἴω \ > 7 
τὸ δὲ per εὐτυχίαν κακοῦσθαι θνατοῖς βαρὺς αἰών. 


769. The swan’s song on his dying 
day betokens his Apollinic character, 
acc. to the Platonic Socrates: of κύκνοι 
οὐ τοῦ ᾿Απόλλωνος ὄντες μαντι- 
κοί τέ εἶσι καὶ προειδότες τὰ ἐν Αἰδου 
ἀγαθὰ ἄδουσι καὶ τέρπονται ἐκείνην 
τὴν ἡμέραν διαφερόντως Plat. Phaedo 
85 Ὁ. 


(First Antistrophe.) 


1108-1110. πύργων ὀλλυμένων : 
‘when temple and tower| Went to the 
ground’ Milton Sonnet viii. — πολε- 
ploy .. . λόγχαις: by foemen’s oars 
and spears constrained. Naming the 
instruments of both conquest and 


conveyance. ἐπὶ ναυσὶν ἔβαν is pas- 
sive in sense. Cf. ὁρμεῖ χαλινοῖς v. 
1043. 


1111 1, And, by exchange for precious 
gold, on a far foreign voyage I came. 
First led captive from their homes 
by the fate of war, and then sold as 
slaves to foreigners.— νόστον βάρβα- 
pov: ἴ.6. νόστον βαρβάρου γῆς. Ch. γῆς 
πατρῴας νόστος (Υ. 1006), and note that 
νόστος is not confined to the meaning 
of “return.” 

1113-1115. ἔνθα : hither, where, — 


ἐλαφοκτόνου Beds: cf Δίκτυνν᾽ οὐρεία 
v. 127. — λατρεύω: here followed 
by the acc. instead of the regular 
dative. Cf. τίνα πόλιν. . . λατρεύ- 
es; ΕἸ. 180.— βωμοὺς “EAAnvoévras : 
cf. βωμός, Ἕλλην οὗ καταστάζει φόνος 
v. 72. 

1117-1122. A characteristic moral 
reflection, unmistakable in its tenor, 
although the text is very uncertain. 
The significant antithetic phrases of 
the passage are διὰ παντός (“from first 
to last”) and wer’ εὐτυχίαν (“after 
happy experiences ”).— ἐν ἀνάγκαις : 
said, as often, with reference to s/av- 
ery; cf. the Homeric ἦμαρ ἀναγκαῖον 
(11 836) opp. to ἐλεύθερον ἦμαρ (id. 
831), τῆς ἀναγκαίας τύχης (“the lot of 
servitude”) Soph. Aj. 485.— Whilst 
all the time I envy the misery of life- 
long misfortune : in bondage reared, one 
suffers not by any change to trouble ; 
but, after good times, to dwell in bad is a 
grievous life. Cf. φαντὶ δ᾽ ἔμμεν | τοῦτ᾽ 
ἀνιαρότατον, καλὰ γινώσκοντ᾽ ἀνάγκᾳ | 
ἐκτὸς ἔχειν πόδα Pind. Pyth. iv. 510. 
‘This is truth the poet sings, | That 
a sorrow’s crown of sorrow is remem- 
bering happier things.’ 


156 EYPIIIAOY I®ITENEIA. 


\ \ , , a , ist 
Kal σὲ μέν, πότνι, Αργεία στροφὴ β΄. 
πεντηκόντορος οἶκον ἄξει" 
1125 συρίζων δ᾽ ὁ -Knpodéras 


κάλαμος οὐρείον Πανὸς 


κώπαις ἐπιθωΐξει, 


ὁ Φοῖβός θ᾽ ὁ μάντις ἔχων ἑπτατόνου κέλαδον λύρας 


1180 ἀείδων afer λιπαρὰν εὖ σ᾽ ᾿Αθηναίων ἐπὶ γᾶν. 


ἐμὲ δ᾽ αὐτοῦ προλιποῦσα βήσει ῥοθίοισιν πλατᾶν" 


(Second Strophe.) 

1123-1137. An apostrophe ad- 
dressed to Iphigenia. The thought 
of her return to Hellas is suggested 
by force of contrast. 

1123 1. καί: and now. Passing from 
a general reflection to the particular 
events impending (for καὶ viv).— σὲ 


μέν : correlative to ἐμὲ δέν. 1182. σέ 


is emphatic also by contrast with what 
has preceded. — πεντηκόντορος : re- 
membering πολυκώπῳ σκάφει v. 981; 
cf. v. 1347. 

1125-1130. Giving way to the en- 
thusiasm of song, the chorus cele- 
brates the divine auspices that 
must attend on such a voyage as 
this. 

1125-1127. Pan, whose music is 
heard everywhere in wild nature, over 
both land and sea, shall be the κε- 
Aevorns to set the oar-stroke. — συρί- 
{ov: piping. σῦριγξ, “ Panspipe.” — 
κηροδέτας κάλαμος: cf Pan pri- 
mus calamos cera coniun- 
gere pluris | instituit Verg. 
Ecl. ii. 82. — odpelov: cf. vs. 127, 162, 
634. — ἐπιθωύξει : will cheer on. The 
verb suits the character of the god, 
suggesting the shouts of hunters to 
their dogs ; cf. ἔραμαι κυσὶ Owita: Hipp. 
219. In Athenian triremes a flute- 
player (rpinpavaAns) gave the time for 
the oars. 


1128-1131. ὁ μάντις: said in a 
very different tone from vy. 71]. 
The prophet of an ancient expe- 
dition stood high in dignity and 
importance, as for example Mopsus — 
among the Argonauts (Pind. Pyth. 
iv. 338 ff.). Here the god himself 
who devised the sacred mission will 
conduct it to a prosperous end.— 
ἔχων... ἀείδων : singing as he holds 
the seven-stringed clanging lyre. Of. 
φόρμιγγος περικάλλεος, ἣν ἔχ᾽ ᾿Απόλ- 
λων Hom. A 603. ἀείδων is the main 
participle, answering to συρίζων v. 
1125. — κέλαδον λύρας: poetically | 
for the lyre itself; cf. νεὼς πίτυλος v. 
1050. — ev: happily. Of a prosperous 
voyage (καλὸς πλοῦς) : cf. εὖ μὲν Mup- 
μιδόνας pao ἐλθέμεν ἐγχεσιμώρους... 
εὖ δὲ Φιλοκτήτην, Ποιάντιον ἀγλαὸν 
υἱόν Hom. γ 188. ---λιπαράν: niti- 
dam, “bright and fair,” a favorite 
epith. of the City. Cf λιπαραῖσί τ᾽ ἐν 
ὀλβίαις ᾿Αθάναις Alc. 452. Best known 
from Pindar’s celebrated fragment: 
ὦ ταὶ λιπαραὶ καὶ ἰοστέφανοι καὶ ἀοίδιμοι, 
Ἑλλάδος ἔρεισμα, κλειναὶ ᾿Αθᾶναι, δαι- 
μόνιον πτολίεθρον. ; 

1132. ἐμὲ δ᾽ αὐτοῦ προλιποῦσα: 
leaving me behind. πρό in comp. and 


αὐτοῦ have a similar force; for the — 


latter see on v. 974.— ῥοθίοισιν wAa- 
Trav: with many a plash of oar-blades. op 
The dat. as in vy. 1110. τὰ 


IPHIGENIA AMONG THE TAURIANS. 157 


1135 ἀέρι δ᾽ ἱστία δὴ κατὰ πρῴραν ὑπὲρ στόλον ἐκπετά- 


σουσι πόδες 
’ 
ναὸς ὠκυπόμπου. 


λαμπρὸν ἱππόδρομον βαίην 


ἀντιστροφὴ β΄. 


» > ed 3, lal 
ev? εὐάλιον ἔρχεται πῦρ᾽ 


1140 οἰκείων δ᾽ ὑπὲρ θαλάμων 


πτέρυγας ἐν νώτοις ἀμοῖς 


λήξαιμι θοάζουσα" 


χοροῖς δὲ σταίην, ὅθι καὶ παρθένος εὐδοκίμων γάμων 


1145 παρὰ πόδ᾽ εἱλίσσουσα φίλας ματρὸς ἡλίκων θιάσους 


5 ε ¥ ’ ϑ Ὧν 9 c 4 > » 
ἐς ἁμίλλας χαρίτων, χαΐτας avt ἁβροπλούτου T ἔριν 


1160 ὀρνυμένα, πολυποίκιλα φάρεα ταῖς γένυσιν περιβαλ- 


λομένα 


> 3 5 , 
οὐκέτ᾽ ἐσκίαζον. 


1134 ff. Graphic enumeration of 
characteristic features of the vessel 
seen under sail. Note the galloping 
dactyls. — κατὰ πρῴραν ὑπὲρ στόλον : 
“forward above beam.” — - πόδες : 
“ sheet-lines,” attached to the lower 
extremities of the sail and governing 
it.— ναὸς ὠκυπόμπου: the strophe 
leaves behind it a vision of the “‘swift- 
sped bark,” impelled by wind and oar 


ἄξεινον κατὰ πόντον. 


(Second Antistrophe. ) 


1138-1151. A similar wish to that 
at the close of the first stasimon (vs. 
452 ff.). Here, reminiscences of the 
dance, as there of song. 

1138 f. By the bright track would I 
might go, where the Sun wheels in goodly 
fire. Cf. vs. 192 ff., Zon 82 (quoted on 
p. 42). 


1140-1142. Not an &rrepos ὄρνις 
now. — apots: cf. v. 149. --- πτέρυγας 
λήξαιμι θοάζουσα: the thought is of 
alighting, after a ‘home flight.’ 

1143 ff. “There in dances might I 
take my place, where erst, a maiden 
for noble nuptials meet, whirling my 
foot by a fond mother’s side, glad 
bands of youthful mates 1 stirred ‘to 
rivalry of charms and vying wealth 
of hair luxuriant, whilst gay-hued 
veils around these cheeks I flung, not 
then as now in sadness shrouded.” 

The text is a more than Terpsi- 
chorean maze. The last three lines 
are here printed from Dr. J. H. 
Heinrich Schmidt (Aunstformen 111. 
ecexxxy.), and the paraphrase is in- 
tended to suit his probable idea of 
the sense. We can at least be sure 
that there was dactyls and danc- 
ing. ee 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΘΟΑΣ. ᾿ 


A 5 > ε \ “ i ony 
ποῦ ᾽σθ᾽ ἡ πυλωρὸς τῶνδε δωμάτων γυνὴ 
Ἑλληνίς; ἤδη τῶν ἕένων κατήρξατο, 

1155 ἀδύτοις T ἐν ἁγνοῖς σῶμα λάμπονται πυρί; 


ΧΟΡΟΣ. 


. φ» 5 ’ὔ ν , 3 », Od A 
no ἐστιν, ἢ σοι TAVT, ἀναξ, Epet σαφῶς. 


ΘΟΑΣ. 


» 
EQ 


τί τόδε peTaipers ἐξ ἀκινήτων βάθρων, 


᾿Αγαμέμνονος παῖ, θεᾶς ἄγαλμ᾽ ἐν ὠλέναις ; 


IPITENEIA. 


» » » 9 A , κν 9 , 
ἀναξ, EX QUTOVU πόδα, σον εν παραστασιν. 


ΘΟΑΣ. 


1160 τί δ᾽ ἔστιν, ᾿Ιφιγένεια, καινὸν ἐν δόμοις; 


ΙΦΙΓΕΝΕΙΑ. 


δῖ: iad Sa: 4 δ Sis 9 chy ‘I 
ATETTVUO OO LO Yop ἰθόωμ, ἐπος TOOE. 


VII. Turrp ΕἸΡΕΙΒΟΡΙΟΝ, vs. 1153- 
1299, 

The king enters with attendants. 
See vs. 1080 f. He addresses his in- 
quiry to the coryphaeus. 

1153-1155. πυλωρός : see on v. 131. 
Thoas will assure himself of the due 
and complete observance of the rite: 
first the initiatory consecration (κατήρ- 
taro, cf. vs. 40, 622), then the immo- 
lation and cremation (πυρί, cf. v. 
626). 

1157. ἔα: exclamation of surprise, 
as Iphigenia enters from the temple 
bearing the image of the goddess. — 
τόδε: deictic or local, as constantly. 
“Why thus?” —axwyrev: inviolable. 
κινεῖν is used often of meddling with 
what ought not to be touched. 


1159. Sire, stay thy foot where thou 
standest, at the pillared vestibule. This 
is uttered with great solemnity. — 
αὐτοῦ: cf. vs. 974, 1132. — ἐν παρα- 
στάσιν: παραστάδες, pillars at the e 
trance of palace or temple, thus desig 
nating the entrance-way. Cf νὺξ jy, — 
᾿Αδράστου δ᾽ ἦλθον εἰς mapacrddas a 
Phoen. 415. e 

1161. ἀπέπτυσα : “Deliver us!” A 
formula of pious abhorrence, which 
was originally expressed by the act 
ἀποπτύσαι itself.—doia κτλ.: to holi- 
ness I devote the word. 7.6. she utters 
the exclamation for the sake of holi- __ 
ness. Cf. ὁσίας ἕκατι ν. 1461. dota 
is a noun; personified, ‘Ocala, πότνα 
θεῶν Bacch. 370.— γάρ: refers to the — 
exclamation, as often; cf. v. 855, 


cal 


IPHIGENIA AMONG THE TAURIANS. 


159 


@OAS. 


τί φροιμιάζει νεοχμόν; ἐξαύδα σαφῶς. 


IPITENEIA. 


> , \ , > 9 4 5 ¥ 
ov καθαρά μοι τὰ θύματ ἠγρεύσασθ᾽, ἀναξ. 


ΘΟΑΣ. 


τί τοὐκδιδάξαν τοῦτό σ᾽ 


ἢ δόξαν λέγεις ; 


ΙΦΙΓΕΝΕΙΑ. 


1165 βρέτας τὸ τῆς θεοῦ πάλιν ἕδρας ἀπεστράφη. 


ΘΟΑΣ. 


5 κ ¥ Ν » ld 
αὐτόματον, ἡ νιν σεισμὸς ἔστρεψε χθονός; 


ΙΦΙΓΕΝΕΙΑ. 


> ld »” 2 3 , , 
αὐτόματον - ὄψιν δ᾽ ὀμμάτων ξυνήρμοσεν. 


ΘΟΑΣ. 


e δ᾽ δ ἢ; v4 “ἃ Ν lal / , 
ἡ αἰτία τίς; ἢ τὸ τῶν ξένων μύσος; 


IPITENEIA. 


nO, οὐδὲν ἄλλο: δεινὰ yap δεδράκατον. 


ΘΟΑΣ. 


1110 ἀλλ᾽ ἢ τιν᾽ ἔκανον βαρβάρων ἀκτῆς ἔπι; 


1162 f. rl... γεοχμόν: “ What 
means this novel prelude to your 
words?” φροιμιάζεσθαι, φροίμιον, mpo- 
oluiov.— ov καθαρά: note the pred. 
position, and cf. v. 1171. —1ypevoac be: 
not the pl. for the sing., but mean- 
ing Thoas and his men who did the 
catching. 

1164. The king calls for the proofs, 
if there are any.— τὸ ἐκδιδάξαν : opp. 


᾿ς 10 δόξαν, (“ mere opinion”). — τοῦτο: 


obj. of ἐκδιδάξαν. --- 7: see on v. 503. 


a Again in ν. 1168. 


1165. πάλιν ἕδρας: gen. of sepa- 


ration; but we should say “turned 
around in its place.” 

1168. Thoas had a scientific expla- 
nation to suggest for the first miracle 
(σεισμὸς χθονός Vv. 1166), but the sec- 
ond one is too much for him. Both 
prodigies are of a sort frequently 
observed by the ancients, and recorded 
in history as well as in poetry. 

1170. ἀλλ’ ἢ : ἀλλά, because the 
idea had not occurred to him before. 
Thoas had heard only a hurried ac- 
count of the fray ἀκτῆς ἔπι. See v. 
304 (ὅσον Taxos). 


100 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. : 
; 


IPITENEIA. 


> nw > AX ’ , 
οἰκεῖον ἦλθον τὸν φόνον κεκτημένοι. 


ΘΟΑΣ. 


τίν᾽; εἰς ἔρον γὰρ τοῦ μαθεῖν πεπτώκαμεν. 


IPITENEIA. 


, , A , 
μήητερα κατειργάσαντο κΚοινῶνῳ Eide. 


ΘΟΑΣ. 


ἤΛπολλον, οὐδ᾽ ἐν βαρβάροις ἔτλη τις av. 


ΙΦΙΓΕΝΕΙΑ. 


1115 πάσης διωγμοῖς ἠλάθησαν Ἑλλάδος. 


ΘΟΑΣ. 


ἢ τῶνδ᾽ ἕκατι δῆτ᾽ ἀγαλμ᾽ ἔξω φέρεις ; 


IPITENEIA. 


, 3 e > ἰθέ 3 ε ’ὔ = 
σέμνον Y VT AWEPN, WS μεέεταστΉσω φόνου. 


ΘΟΑΣ. 


, > » Ὁ »»} 7 fg 
μίασμα δ᾽ ἔγνως τοῖν ἕένοιν ποίῳ τρόπῳ; 


t 


ἸΦΙΓΈΝΕΙΑ. 


ἤλεγχον, ὡς θεᾶς βρέτας ἀπεστράφη πάλιν. ἘΝ 
ΘΟΑΣ. 


1180 σοφήν σ᾽ ἔθρεψεν Ἑλλάς, ὡς ἤσθου καλῶς. 


1171. οἰκεῖον : opp. to βαρβάρων ν. 
1170. “They have brought their 
bloodguiltiness with them from their 
home.” --- ἦλθον κεκτημένοι: cf. ἥκει 
φέρουσα V. 42, also vs. 258, 1083. 

1172-1175. εἰς ἔρον... πεπτώκα- 
μεν: Thoas’ curiosity is excited. —Kar- 
εἰργάσαντο: despatched. Euphemis- 
tic; cf. κατέργασαι.... ἐμὸν παῖδα Hipp. 


ΕΠ 


888, said in prayer to Poseidon.— ἔτλη 
τις av: the ellipse of an object, or an 
infinitive, is apt here.—qadons . . 
“Ἑλλάδος : sympathetic with the feel Ξ 
ing shown by the king, and tending ἴθ 
account for the coming of themen. 
1180. σοφὴν... Ἑλλάς : see p. 21. ὟΝ ἐφ. 
— ὡς : equiv. to ὅτι οὕτως. See GMT. cs 
65, 4 (fourth example). , 


᾿ 


cA 


IPHIGENIA AMONG THE TAURIANS. 161 


IPJTENEIA. 


καὶ νῦν καθεῖσαν δέλεαρ ἡδύ μοι φρενῶν. 


ΘΟΑΣ. 


τῶν ᾿Αργόθεν τι φίλτρον ἀγγέλλοντέ σοι; 


IPITENEIA. 


bY ’ > r. > κ > Ν 3 ~ 
τὸν μόνον Ὀρέστην ἐμὸν ἀδελφὸν εὐτυχεῖν. 


ΘΟΑΣ. 


ε » ’ὔ ε “ > ’ 
ὡς δή σφε σώσαις ἡδοναῖς ἀγγελμάτων. 


IPITENEIA. 


‘\ 4 “A \ a ’ 5 ’ 
1185 καὶ πατέρα γε ζῆν καὶ καλῶς πράσσειν ἐμόν. 


ΘΟΑΣ. 


᾿ 3 3 » ~ a > 5 ’ » ’ὔ 
σὺ δ᾽ εἰς τὸ τῆς θεοῦ γ᾽ ἐξένευσας εἰκότως. 


IPITENEIA. 


ν 


πᾶσάν γε μισοῦσ᾽ Ἑλλάδ᾽, ἡ μ᾽ ἀπώλεσεν. 


ΘΟΑΣ. 


τί δῆτα δρῶμεν, φράζε, τοῖν ξένοιν πέρι; 


1181. And now they dropped a bait 
tempting to my thoughts. — φρενῶν : obj. 
gen. with δέλεαρ. For the word itself, 
cf. v. 815. 

1182. Offering you some sort of tid- 
ings from Argos as a lure ?— φίλτρον : 
answers exactly to δέλεαρ. For the 
proper signification of the word, cf. 
φίλτρα. . . θελκτήρια ἔρωτος Hipp. 
509, referred to again as φάρμακον. 
Figuratively, as here, very often in 
Euripides. 

1183. All this seems like treading 
on dangerous ground. Not only, how- 
ever, did the poet well understand 
what his audience would most enjoy 
in a scene like this, but it is also 


thoroughly dramatic. Iphigenia was 
σοφή, and she knew that the surest 
way of guarding against hazardous 
inferences and surmises is to forestall 
them. 

1184. δή: of course; cf. v. 1025. — 
ἡδοναῖς ἀγγελμάτων : “in return for 
the pleasant news.” Causal dative. 

1186. “But you inclined to the 
side of the goddess, naturally.” — 
ἐξένευσας : from ἐκνεύειν, not ἐκνεῖν, 
in spite οὗ δέλεαρ (v. 1181), which is 
forgotten by this time. 

1187. The motive alleged by Iphi- 
genia would seem ample to the king, 
esp. when given in addition to that of 
loyalty to the goddess who saved her 


162 


ΕΥ̓ΡΙΠΊΔΟΥ ἸΦΙΓΈΝΕΙΑ. 


ΙΦΙΓΕΝΕΙΑ. 


Ἂν ’ > ’ Ἂς, e ’ 
τον νομὸν αναΎΚΉ TOV πτροκειμένον, σέβειν. 


ΘΟΑΣ. 


1190 οὔκουν ἐν ἔργῳ χέρνιβες ξίφος τε σόν; 


ISITENEIA. 


ἁγνοῖς καθαρμοῖς πρῶτά vw νίψαι θέλω. 


ΘΟΑΣ. 


πηναῖσιν ὑδάτων ἢ θαλασσία δρόσω; 
yy ae 1) 2 Οροσῷῳ; 


IPITENEIA. 


θάλασσα κλύζει πάντα τἀνθρώπων κακά. 


ΘΟΑΣ. 


A A A » 
ὁσιώτερον γοῦν TH θεῷ πέσοιεν αν. 


IPITENEIA. 


1195 Kal Tapa γ᾽ οὕτω μᾶλλον ἂν καλῶς ἔχοι. 


ΘΟΑΣ. 


¥ Ν 2A \ 
ουκουν προς QUTOV VQOV 


life (τὸ τῆς θεοῦ). Cf. what she says to 
- Orestes himself, οὐχὶ τοῖς κτανοῦσί με 
θυμουμένη (v. 992); also vs. 337 ff. 
1189. προκείμενον : prescribed ; cf. 
προυθέμην v. 1225, and see on v. 620. 
1192. πηγαῖσιν : is seen to denote 
Jresh water, of fount or stream; cf. 
καλλιρρόου | ἔψαυσα πηγῆς Aesch. Pers. 
201, for purification after a bad dream. 
-- θαλασσίᾳ δρόσῳ: cf ἐναλίᾳ δρόσῳ 
v. 255. δρόσος is a favorite word in 
Greek poetry; cf. v. 443, Ton 96. 
1193. The line has the sound of a 
proverb. Sea-water was believed to 
possess high efficacy for purposes of 
lustration. 
1194. “There will be more sanc- 


ἐκπίπτει κλύδων; 


tity, at any rate, in offering them up 
to the goddess.” — Personally, Thoas 
would like them offered up first and 
purified afterwards. — ὁσιώτερον : ad- 
verb. 

1195. τἀμά: Thoas understands 
“my duty as priestess,’ the specta- 
tor “my plan of escape.” This is 
the first of a series of similar equi- 
vokes at the expense of the barba- 
rian, unless v. 1193 be regarded as 
containing one. 

1196. αὐτόν: see on v. 969. — ἐκ- 
πίπτει: see on v. 1042.—Thoas at 
once suggests the nearest salt water, 
as did Orestes. ‘That the Taurian 
temple stood upon the shore was 


IPHIGENIA AMONG THE TAURIANS. 163 


IPITENEIA. 


ἐρημίας δεῖ: καὶ yap ἄλλα δράσομεν. 


ΘΟΑΣ. 


ay ἔνθα yprles: οὐ φιλῶ ταρρηθ᾽ ὁρᾶν. 


ΙΦΙΓΕΝΕΊΙΑ. 


ε ’ὔ \ Ν “Ὁ “ ’, 
αγνιστεον μοι Κα TO TNS θεοῦ βρέτας. 


ΘΟΑΣ. 


1200 εἴπερ γε κηλὶς ἔβαλέ νιν μητροκτόνος. 


IPITENEIA. 


> , > » 5 ’ , » 
οὐ yap ToT av vw ἠράμην βάθρων aro. 


@OAS. 


7 ε 4 ‘\ / 
δίκαιος ηὑσέβεια καὶ προμηθία. 


ΙΦΙΓΕΝΕΙΑ. 


οἶσθά νυν a μοι γενέσθω; 


ΘΟΑΣ. 


doubtless a received fact, but Eu- 
ripides avails himself of the circum- 
stance to augment the hazard and 
cleverness of the scene. 

1197. ἄλλα δράσομεν : equivocal. 

1198. τἄρρηθ᾽ : τὰ ἄρρητα (myste- 
ries); cf. ἀπόρρητον φλόγα ν. 1391. 

1200. Certainly, if it has really 
caught the stain of matricide. —Thoas 
is by no means dull, only a trifle 
δεισιδαιμονέστερος. 

1201. Cf. Iphigenia’s answer to 
Orestes in v. 740. Also vs. 666 f. 

1202. δίκαιος : right. For the form, 
see H. 220 ἃ; cf. θαλασσίους v. 256. 
—nioéBeva: ἡ εὐσέβεια. The article 


\ \ , , 
σον TO σημαινειν τόδε. 


belongs to the combined idea of both 
nouns, and has, to us, a possessive 
force. 

From these words of hearty ap- 
proval the king is seen to be well 
won over to the religious exigency 
feigned by the priestess. A new stage 
in the progress of the plot is marked 
by the change of rhythm following. 
See Introd. p. 40. 

1203. ἅ μοι γενέσθω : what 1 must 
have done for me. For the const., see 
GMT. 84, n. 3; H. 875. Cf. v. 759, 
where, however, there is nothing irreg- 
ular or idiomatic as here.—oov: σὸν 
ἔργον, cf. v. 1079. 


104 


EYPITITAOY ΙΦΙΓΕΝΈΕΙΑ. 


ἸΦΙΓΈΝΕΙΑ. 


δεσμὰ τοῖς ἕξένοισι πρόσθες. 


ΘΟΑΣ. 


A , 9 3 , dd 
ποι δέ σ ἐκφύγοιεν ἂν; 


IPITENEIA. 


πιστὸν Ἑλλὰς οἷδεν οὐδέν. 


ΘΟΑΣ. 


1205 


» 9 aE , 4 
ir ἐπὶ δεσμά, πρόσπολοι. 


ΙΦΙΓΕΝΕΊΙΑ. 


κἀκκομιζόντων δὲ δεῦρο τοὺς ξένους, 


ΘΟΑΣ. 


¥ , 
ἔσται τάδε. 


ISITENEIA. 


~ 4 , 
κρᾶτα κρύψαντες πέπλοισιν. 


ΘΟΑΣ. 


ἡλίου πρόσθεν φλογός. 


ISITENEIA. 


a 5 “a 
σῶν τέ μοι σύμπεμπ᾽ ὀπαδῶν. 


ΘΟΑΣ. 


1205. πιστὸν... οὐδέν : 1.6. “be not 
over confident; a barbarian can never 
be sure of a Greek.” 

1206 f. kal... δέ: see H. 1042 
(last example).— ἐκκομιζόντων : imv.; 
const. κρύψαντες with its subj. (sc. πρόσ- 
modo). — Here certain of the attend- 
ants withdraw to execute the orders 
given. — ἡλίου πρόσθεν φλογός : the 
king comprehends at once, — the Sun- 


νῷ» ε ’ , 
οἵδ ομαρτΉσουσι σοι. 


god must be shielded from the sight 
of pollution. Cf vs. 192-195; τὴν γοῦν 
πάντα βόσκουσαν φλόγα | αἰδεῖσθ' 
ἄνακτος | Ἡλίου, | τοιόνδ᾽ ἄγος | 
ἀκάλυπτον οὕτω δεικνύναι Soph. Oed. 
Tyr. 1425.— Here, the veiling would 4 
have its convenience for the plot also. . 
1208. ὀπαδῶν: part. gen. with the 
verb. — οἵδε: visibly indicating those 
who are to accompany Iphigenia. 


IPHIGENIA AMONG THE TAURIANS. 


165 


IPITENEIA. 


ἃ ’ὔ la + RD. 2 »“ 
καὶ πόλει πέμψον τιν ὁστις σημανεῖ 


ΘΟΑΣ. 


ποίας τύχας; 


IPITENEIA. 


, 9 
ἐν δόμοις μίμνειν ἅπαντας. 


ΘΟΑΣ. 


1210 


\ A ’ὔ 
μὴ συναντῴεν φόνῳ; 


ΙΦΙΓΕΝΕΙΑ. 


υσαρὰ γὰρ τὰ τοιάδ᾽ ἐστὶ 
μυσαρὰ γὰρ 


ΘΟΑΣ. 


a“ . 
στεῖχε καὶ σήμαινε σύ. 


IPITENEIA. 


μηδέν᾽ εἰς ὄψιν πελάζειν. 


ΘΟΑΣ. 


> ’ 4 
εὖ ye κηδεύεις πόλι. 


ΙΦΙΓΕΝΕΙΑ,. 


καὶ φίλων γ᾽ ovs δεῖ μάλιστα. 


ΘΟΑΣ. 


1209 ἢ. πόλει : emphatically placed, 
as opp. to ἡλίου v. 1207. Const. with 
σημανεῖ. ---πποίας τύχας : the priestess 
does not mean to speak of any emer- 
gency, as the king would have seen, if 
he could have waited till she finished 
the order. —plyvev: const. with on- 
μανεῖ. --- μὴ συναντῴεν : final clause ; 
the opt., to suit the past tense in the 
mind of the questioner (sc. τοῦτ᾽ 
ἔλεξας, cf. v. 1218). 

1211 f. στεῖχε... σύ: another man 
is sent off to promulgate the order 


eck 3 3 a 
τοῦτ᾽ ἔλεξας εἰς ἐμέ. 


ἐν δόμοις μίμνειν ἅπαντας. --- σήμαινε: 
adapted to σημανεῖ v. 1209. --- μηδένα 
... πελάζειν : const. with μυσαρά ἐστι, 
which, being a negative idea, pro- 
duces the neg. μηδένα (G. 288, 6; H. 
1029). ‘ Forbidding all approach in 
sight of them.” 

1212 f. ev ye: has exclamatory 
force (Right handsomely !).—kal... 
μάλιστα: Ay, and for the friends who 
best deserve! —dtdav: part. gen. Se. 
τούτους Kndevw. — ovs δεῖ : sc. κηδεύειν 
pe. —els ἐμέ: “meaning me.” The 


166 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 
ISIFENEIA. 
εἰκότως. 
ΘΟΑΣ. 
ε 3 ’ ~ 4 4 
ὡς εἰκότως oe πᾶσα θαυμάζει πόλις. 
ΙΦΙΓΈΝΕΙΑ. 
‘\ Ν 4 9 la Ν χὰ “ la 
σὺ δὲ μένων αὐτοῦ πρὸ ναῶν τῇ θεῷ 
ΘΟΑΣ. 
4 ~ lanl 
he τί χρῆμα δρῶ; 
ἸΦΙΓΈΝΕΙΑ. 


ἅγνισον πυρσῷ μελαθρον. 


ΘΟΑΣ. 


καθαρὸν ὡς μόλῃς πάλιν; 


IPITENEIA. 


ἡνίκ᾽ av δ᾽ ἔξω περῶσιν ot E€vor, 


ΘΟΑΣ. 


τί χρή ue δρᾶν; 


ΙΦΙΓΕΝΕΊΙΑ, 


’ 9 4 ? 
πέπλον ὀμμάτων προθέσθαι. 


ΘΟΑΣ. 


μὴ παλαμναῖον λάβω; 


ΙΦΙΓΕΝΕΙΑ. 


ἣν δ᾽ ἄγαν δοκῶ χρονίζειν, 


pam 


ΘΟΑΣ. 


king’s comment attests his high appre- 
ciation of the personal regard for him- 
self which Iphigenia’s words convey. 
She really means Orestes and Pylades, 
and does not come to the king in 
particular until σὺ δέ v. 1215.— 
Possibly we have here the germ of 
Goethe’s Thoas? ‘Great oaks from 
little acorns grow!’ 

1215 f. θεῴ: const. with ἅγνισον 


AQ? ¢ τ ΧΙ 
τοῦδ᾽ ὄρος τίς ἐστί μοι; 


... “éAabpov. —Such fumigation was 
performed with the aid of sulphur, as 
in Odysseus’ hall, after the slaughter 
of the suitors; cf Hom. x 493 f.— 
καθαρόν : pred.; sc. μέλαθρον (ace. of 
limit of motion). “That it may be 
pure at your return?” 

1218. παλαμναῖον : is perhaps neut. 
here. ‘Contamination of murder.” 

1219 f. ὅρος : criterion, The king 


IPHIGENIA AMONG THE TAURIANS. 


167 


IPITENEIA. 


1220 θαυμάσῃς μηδέν. 


ΘΟΑΣ. 


Ἀ ΄“ lal A > 5 A A ~ 
Ta τῆς θεοῦ πρᾶσσ᾽ ἐπὶ σχολῆς καλῶς. 


IPITENEIA. 


εἰ yap ws θέλω καθαρμὸς ὅδε πέσοι. 


ΘΟΑΣ. 


συνεύχομαι. 


IPITENEIA. 


ἫΝ ἄρ᾽ ἐκβαίνοντας ἤδη δωμάτων ὁρῶ ἕένους 


Ν A ’ ,  ΎΩΡ ε ,ὕ ΄, 
καὶ θεᾶς κόσμους VEOYVOUS T αρνᾶς, ὡς φόνῳ φόνον 


μυσαρὸν ἐκνίψω, σέλας τε λαμπάδων τά τ᾽ ἀλλ᾽ ὅσα 


1225 προυθέμην ἐγὼ ἕξένοισι καὶ θεᾷ καθάρσια. 


5 Ν 3 > ~ ’ aAQ> » ’ 
ἐκποδὼν δ᾽ αὐδῶ πολίταις τοῦδ᾽ ἔχειν μιάσματος, 


ΕΥ̓ “Ἃ “A Ν A ε ͵ὕ πέρ 
ει τις ἢ VAWV πυλωρὸς χειρᾶς AYVEVEL θεοῖς 


“ἡ , ’ 4 x ’ 4 
ἢ γάμον στείχει συνάψων ἢ τόκοις βαρύνεται, 


4 > OF ald ’ὔ ’ὔ 4 ’ 
φεύγετ᾽ ἐξίστασθε, μή τῳ προσπέσῃ μύσος τόδε. 


asks how he is to determine what is 
a long time and what is not. A mo- 
ment’s reflection, however, shows him 
that he cannot expect to be informed 
with exactness as to a solemn rite; 
hence his next words τὰ τῆς θεοῦ κτλ. 
(“Take your time for the goddess’ 
work.”) Cf. his remark οὐ φιλῶ τἄρρηθ᾽ 
ὁρᾶν v. 1198. 

1221. Iphigenia’s wish is equivo- 
eal in tenor, and Thoas’ συνεύχομαι 
would be taken as a favorable omen. 

1222 ff. Thoas covers his face, as 
the sacred procession comes forth 
from the temple and passes off the 
scene,— the prisoners also with 
muffied heads. Cf. vs. 1207, 1218. 

1222-1225. dpa: introduces some- 
thing that has been expected or prom- 
ised. — θεᾶς κόσμους : the robes, orna- 


ments, and other sacred appurtenances 
of the idol would need purification, 
and, besides, they ought not to be left 
behind in transporting it to Greece. 
The ξόανα had wardrobes extensive 
and elaborate in proportion to their 
own antiquity.—veoyvovs . . . ἐκνίψω : 
so in Aeschylus the purification has 
to be effected by means of the blood 
νεοθήλου βοτοῦ Hum. 450. — ὅσα πρου- 
θέμην ἐγὼ... καθάρσια: prescribed 
by me for cleansing guests and goddess, 

1226-1229. The warning of v. 1210 
is repeated in detail, with an enumer- 
ation of such persons as might have 
especial occasion to be approaching 
the temple. —ékroSav ἔχειν : to hold 
aloof. Cf. ἐξίστασθε below. — χεῖρας 
dyvever θεοῖς : “is consecrate to holy 
services.” χεῖρας, acc. of specifica- 


108 


1280 ὦ Διὸς Λητοῦς τ᾽ ἄνασσα παρθέν᾽, ἣν νίψω φόνον 
τῶνδε καὶ θύσωμεν οὗ χρή, καθαρὸν οἰκήσεις δόμον, 
εὐτυχεῖς δ᾽ ἡμεῖς ἐσόμεθα. 

΄“ AQ 4 > > 4 a“ ’ , 4 
τοῖς Ta πλείον᾽ εἰδόσιν θεοῖς σοί τε σημαίνω, θεά. 


ΧΟΡΟΣ. 


ΕἾ ε A , 

εὐπαις o Λατους γόνος, 

ν ’ 4 , 
1235 ov ποτε Δηλιάσιν καρποφόροις γυάλοις 


γέννησε χρυσοκόμαν, 


> , XN “Ὁ 3 + a, 4 > 4 , Η 
ἐν κιθάρᾳ σοφὸν a τ᾽ ἐπὶ τόξων εὐστοχίᾳ γάνυται" 


φέρε δ᾽ ἶνιν 


tion. ayveveris a poetic brachylogy for 
ἁγνὸς dy ἔρχεται, aS βαρύνεται below is 
for στείχει βαρυνομένη. ἁγνεύειν in 
the sense of ἁγνίζειν is found in Anti- 
phon, but it is not so used here.— 
θεοῖς : dat. of reference. 

1230 ff. After her prayer Iphigenia 
follows the train out, and Thoas en- 
ters the temple. Her words are equiv- 
ocal, being uttered in the hearing of 
the king (see p.21). — ἡμεῖς : 7 myself. 
Emphasized as antithetic to the subj. 
of οἰκήσει. --- ὅμως : for the position, 
see GMT. 109, n. 5a (fifth example) ; 
Η. 979 Ὁ. --- τὰ πλείονα : the article is 
idiomatic. ‘‘More than is said” is 
the meaning; we should say “the 
whole.” — For the concluding words 
here, cf. the end of Clytemnestra’s 
impious prayer to Apollo: τὰ δ᾽ ἄλλα 
πάντα καὶ σιωπώσης ἐμοῦ | ἐπαξιῶ σε 


δαίμον᾽ ὄντ᾽ ἐξειδέναι Soph. El. 657. 


VIII. Txrrp Stasimon, vs. 1294-- 
1288. 


The chorus is not at liberty to sing 
of the impending action of the drama, 
but turns its reflections upon the god 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


Taha δ᾽ οὐ λέγουσ᾽ ὅμως 


στροφή. 


whose command has led to the happy 
events already witnessed. Apollo’s 
occupation of the Delphian oracle is 
the theme of the strophe, the confir- 
mation of his authority against the 
dispossessed Themis that of the an-— 
tistrophe. See Introd. p. 38, bir. 
for the metre ib. p. 49. 


be 


Oe ee ——— ae ae he eee Ss co. ae 


(Strophe.) 


1234. A glorious child the son of Leto 
born. — εὔπαις : here of the ofispring 
and not the parent; cf. παιᾶνα μὲν An- 
Aiddes | ὑμνοῦσ᾽ ἀμφὶ πυρὰς τὸν | J Δ 


Or. 908 POSED, not mothe bu 
daughter par excellence, κόρη Δήμητρος, , — 
‘Cora’).—-yovos: strictly not a word 

of concrete signification, thoug 
cannot be adequately shown i 
lating. Hence it may 
daughter ae well as son§ 


ἀπειρολεχῆ Ar. Thesm. 116. 
1238 i ἐν κιθάρᾳ. 


IPHIGENIA AMONG THE TAURIANS. 169 


1240 ἀπὸ δειράδος εἰναλίας, 
λοχεῖα κλεινὰ λιποῦσ᾽, 


Φ 


3 , ὭΣ 5 ε , \ 4 
ἀστάκτων patép εἰς ὑδάτων, τὰν βακχεύουσαν Ato- 


νύσῳ 
4 , 
Παρνάσιον Kopupay, 


1245 ὅθι ποικιλόνωτος οἰνωπὸς δράκων 


σκιερᾷ κατάχαλκος εὐφύλλῳ δάφνᾳ, 


γᾶς πελώριον τέρας, ἄμφεπεν εὖ 


μαντεῖον κλεινὸν χθόνιον. 


σὺ δέ νιν ἔτι βρέφος, ἔτι φίλας ἐπὶ ματέρος ἀγκά- 


1250 λαισι θρώσκων 


ἔκανες, ὦ Φοῖβε, μαντείων δ᾽ ἐπέβας ζαχρύσων, 


of the bow wherein he takes delight. Const. 
σοφὸν ἐν κιθάρᾳ TH τε τόξων εὐστοχίᾳ 
ἐφ᾽ Hf γάνυται. See on v.979. Cf. the 
words of the god himself: εἴη μοι κίθα- 
pls re φίλη καὶ κάμπυλα τόξα, | 
χρήσω δ᾽ ἀνθρώποισι Διὸς νημερτέα βου- 
λήν Hom, hy. 1. 131. 

1239-1244. Leto conveys her child 
from Delos to the Delphian Parnas- 
sus. —tvw: ims: vids νέος (Hesychius). 
-δειράδος εἰναλίας : 1.6. Delos itself, 
“rocky isle of the sea.” Cf. λιπὼν δὲ 
λίμνην Δηλίαν te χοιράδα Aesch. 
Eum. 9. ---λοχεῖα κλεινά: the famed 
place of birth; praised by the chorus in 
vs. 1098 ff.—doroxtev... ὑδάτων : to 
the mother of welling waters. ‘The sacred 
hill, with its abundant streams, among 
them the Castalian fount of poetic 
memory (cf. v. 1257, Jon 96). ἄστακ- 
τον " ov καταστάζον ἀλλὰ ῥύδην (Hesy- 
chius). Cf. δὲ ὄμματος | ἀστακτὶ λεί- 
βων δάκρυον Soph. Oed. Col. 1250. — 
βακχεύουσαν Διονύσῳ: with Bacchus 
wont torevel. A personification of the 
mount; cf. πᾶν δὲ συνεβάκχευ᾽ ὄρος 
Bacch. 727 (Mt. Cithaeron). The 


heights of Parnassus are continually 
celebrated in Greek poetry as the 
scene of Bacchic revelry; cf σὲ δ᾽ 
ὑπὲρ διλόφοιο πέτρας στέροψ ὕπωπε 
| λιγνύς, ἔνθα Κωρύκιαι νύμφαι 
στείχουσι Βακχίδες, Κασταλίας τε 
νᾶμα Soph. Ant. 1126, addressed to 
the god. 

1245 ff. The infant Phoebus slays 
the Python, the dragon that guarded 
her shrine for Themis, and takes pos- 
session of the oracular seat. 

1245-1248. κατάχαλκος : the word 
seems unsuited to the context. The 
serpent lurked under the shady bay- 
tree, which grew near the holy tripod 
and was made to tremble by the 
Pythian priestess as she chanted. Ion 
sweeps the fane with a besom of bay- 
twigs (πτόρθοισι δάφνης). ---- μαντεῖον 
χθόνιον : Themis, who possessed the 
oracle, was mais Χθονός. Cf. χθονίας 
θεᾶς vs. 1272 f. So the Python 
was ‘“Earth-born” (yas πελώριον 
τέρας). 

1252. ἐπέβας : didst enter upon. For 
the gen., cf. v. 215. 


, > 5 la 
τρίποδι ὃ εν χρυσέῳ 


ΕΥ̓ΡΙΠΊΔΟΥ ΙΙΦΙΓΕΝΕΙΑ. 


θάσσεις, ev ἀψευδεῖ θρόνῳ 


1255 μαντείας βροτοῖς 
θεσφάτων νέμων 


ἀδύτων ὕπο, Κασταλίας ῥεέθρων 


γείτων, μέσον γᾶς ἔχων μέλαθρον. 


Ἂς Af 
Θέμιν δ᾽ ἐπεὶ γαΐων 


ἀντίστροφη. 


1260 παῖς ἀπένασσεν ὁ Λατῷος ἀπὸ ζαθέων 


χρηστηρίων, νύχια 


Ν 3 ig > > ’ ν ’ 
χθὼν ἐτεκνώσατο φάσματ᾽ ὀνείρων, οἵ πολέσιν. με- 


ρόπων τά τε πρῶτα 


1265 τά T ἔπειτ᾽ ὅσ᾽ ἔμελλε τυχεῖν 


Y Ἂς ἣν 
ὕπνου κατα δνοφερὰς 


1254-1257. ἐν ἀψευδεῖ. . . ἀδύτων 
ὕπο: upon the unerring seat dispensing 
prophecy to men from within thy holy 
cell. For the periphrasis μαντείας 
θεσφάτων, cf. θεσφάτων ἀοιδαῖς v. 1288. 
- ἀδύτων ὕπο: ὑπό with gen. (“from 
under”), because the ἄδυτον was con- 
nected with a chasm in the earth, and 
the occupant of the tripod under the 
influence of its exhalations. Cf v. 
976. 

1258. μέσον yas: the sanctuary 
was believed to mark Earth’s cen- 
tral point (ὀμφαλὸς γῆς), as Euripides 
constantly mentions; cf. ἥκω δὲ Δελ- 
φῶν τήνδε γῆν, ἵν᾿ ὀμφαλὸν | μέσον καθ- 
i(wv Φοῖβος ὕμνῳδεϊ βροτοῖς | τά τ᾽ 
ὄντα καὶ μέλλοντα θεσπίζων ἀεί Lon ὅ. 


(Antistrophe. ) 


1259 ff. Gaea, offended at the dep- 
osition of her daughter Themis, in- 
stitutes a dream-oracle to supersede 


1259-1263. γαΐων χρηστηρίων : the 
same as μαντεῖον χθόνιον ν. 1248. --- ἀὠπέ- 
νασσεν: cf. v.175.—érexvooaro: gen- 
erated. Earth is ‘mother of dreams”; 
cf. ὦ πότνια Χθών, | μελανοπτερύγων 
μῆτερ ὀνείρων Hec. 70. — νύχια 
φάσματ᾽ ὀνείρων : cf. ὄψιν ὀνείρων Vv. 
160. . 

1264 f. πολέσιν : πολλοῖς (ornamen- 
tal epithet) notwithstanding the part. 
gen. μερόπων. “Tomultitudinous men.” 
—tTd Te πρῶτα τά τ᾽ ἔπειτα : 1.6. the 
past and the future, ‘alphaand omega,’ 
naming the former only for the sake 
of around antithetic phrase. See on 
v. 1026, and cf. τά τ᾽ ὄντα καὶ μέλλοντα 
Ion 7, quoted on v. 1258.— ὅσ᾽ ἔμελλε 


τυχεῖν : explains and enforces τὰ 
ἔπειτα. ; 
1266 f. ὕπνου... χαμεύνας: in 


darkling lowly beds of slumber. A 
dream-oracle was consulted by lying 


down to sleep by the shrine (ineu- 


batio). Cf Vergil’s lines: hue do nays! 


sacerdos|cumtulitetcaesa- — 


the Pythian, whereupon the god ap- 
peals to Zeus. 


IPHIGENIA AMONG THE TAURIANS. 


171 


χαμεύνας ppalov: Tata δὲ τὰν μαντείων ἀφείλετο 


τιμὰν 


Φοῖβον φθόνῳ θυγατρός. 


1270 ταχύπους δ᾽ ἐς Ὄλυμπον ὁρμαθεὶς ἀναξ 
χέρα παιδνὸν ἕλιξεν ἐκ Ζηνὸς θρόνων 
Πυθίων δόμων χθονίας ἀφελεῖν 


΄“ wn ᾿ 4 3 ’ 
θεᾶς μῆνιν νυχίους τ᾽ ἐνοπάς. 


γελασε δ᾽ ὅτι τέκος adap ἔβα πολύχρυσα θέλων 


1275 λατρεύματα σχεῖν" 


ἐπὶ δὲ σείσας κόμαν παῦσεν νυχίους ὀνείρους, 


ἀπὸ δὲ λαθοσύναν 


νυκτωπὸν ἐξεῖλεν βροτῶν 


1280 καὶ τιμὰς πάλιν 
θῆκε Λοξίᾳ, 


rum ovium sub nocte silenti 
| pellibus incubuit stratis 
somnosque petivit, | multa 
modis simulacra videt voli- 
tantia miris|et varias audit 
voces fruiturque deorum|con- 
loquio atque imis Acheronta 
adfatur Avernis Aen. vii. 86. 

1268 f. Γαῖα δὲ κτλ.: and so Gaea, 
etc. Resumptive statement. — φθόνῳ 
θυγατρός : in jealous regard for her 
child. 

1270-1273. ταχύπους : not attribu- 
tive, but pred. with ὁρμαθείς (“with 
swift step”).—yxépa . . . θρόνων : his 
little arm he wound about Zeus’ throne 
(and clung there prayerfully). ἐκ in- 
stead of ἀμφί, after the analogy of 
some such verb as ἐξαρτᾶν. Cf. v. 363. 
—dedetv: const. with χέρα ἕλιξεν, 
which implies supplication. — νυχίους 
ἐνοπάς: cf. varias voces Vergil l.c. 

1274 f. γέλασε: sc. Ζεύς. Phoebus’ 
prompt and precocious solicitude for 
his revenues is highly entertaining to 


the Father. The counterpart to this 
whole unique history is found in the 
exploits of that other infant prodigy 
Hermes, as related in the Homeric 
Hymn. Then it became Phoebus’ own 
turn to smile (viduus pharetra | 
risit Apollo Hor. Carm. i. το. 11). 
— The rapid rhythm here coincides 
with a critical juncture of affairs, as 
at the corresponding point of the 
strophe (the slaying of the serpent, 
σὺ δέ νιν KTA. V. 1249), 

1276 f. ἐπὶ δὲ σείσας κόμαν : ἐπι- 
νεύσας. A reminiscence from Homer: 
ἦ, καὶ κυανέῃσιν ἐπ᾽ ὀφρύσι νεῦσε Kpo- 
viwv: | ἀμβροσίαι δ᾽ ἄρα χαῖται 
ἐπερρώσαντο ἄνακτος | κρατὸς ἀπ᾽ 
ἀθανάτοιο A 528. 

1278 ff. ἀπό: adverbial. So ἐπί 
above.—See on v. 832.— λαθοσύναν 
νυκτωπόν : nightly oblivion. No inapt 
designation of the effects of Themis’ 
dream-oracle, if her shrine resembled 
the Albunean grove, nemorum 
quae maxima sacro | fonte so- 


172 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


πολυάνορι δ᾽ ev ἕενόεντι θρόνῳ 
θάρση βροτοῖς θεσφάτων ἀοιδαῖς. 


ΑΓΓΕΛΟΣ. 


δι 


, ’ ’ 3 > ’ 
ὦ ναοφύλακες βώμιοί T ἐπιστάται, 


1285 Θόας ἄναξ γῆς τῆσδε ποῦ κυρεῖ βεβώς; 
καλεῖτ᾽, ἀναπτύξαντες εὐγόμφους πύλας, 


ἔξω μελάθρων τῶνδε κοίρανον χθονός. 


ΧΟΡΟΣ. 


, > » 5 Ν x “Ὁ 
τί δ᾽ ἔστιν, εἰ χρὴ μὴ κελευσθεῖσαν λέγειν; 


AITEAOS. 
βεβᾶσι φροῦδοι δίπτυχοι νεανίαι 

1290 ᾿Αγαμεμνονείας παιδὸς ἐκ βουλευμάτων 
φεύγοντες ἐκ γῆς τῆσδε καὶ σεμνὸν βρέτας 
λαβόντες ἐν κόλποισιν Ἑλλάδος νεώς. 


nat saevamque exhalat opaca 

mephitim Verg. ἰ.ο. ---- θῆκε: ἐποίησε. 
ἍΜ πάλιν: “restored.” --- βροτοῖς : in 
the same const. as Λοξίᾳ. --- ἀοιδαῖς : 
const. with the substantive θάρση. --- 
πολυάνορι KTA.: and to men confidence 
in the prophecies chanted at the full- 
thronged, guest-frequented throne. Be- 
sides the patrons and pilgrims who 
came continually to consult the god, 
a vast concourse of ξένοι from all 
parts assembled periodically in the 
plain of Crisa to attend the Pythian 
_ festival, which was connected with 
the oracle. Cf. ἐλθὼν eis τὸ κλεινὸν 
Ἑλλάδος | πρόσχημ᾽ ἀγῶνος Δελφικῶψ 
ἄθλων χάριν Soph. ΕἸ. 681. 


IX. Exopos, vs. 1284—-End. 


A messenger, who is one of the 
king’s attendants that accompanied 


Iphigenia to the shore (v. 1208), en- 
ters in haste. : 

1284. ὦ vaodvAakes κτλ.: not ad- 
dressed to the chorus, although the 
chorettae were in the service of the 
temple, but to any officials who may 
be in hearing; cf. v. 1804. — βώμιοι : 
i.e. of ἐπὶ βωμῷ. Cf. βώμιοι πίτνοντες 
Andr. 357, χρόνιοι ἥκουσιν v. 258, 
παράκτιοι δραμεῖσθε ν. 1424, — ἐπιστά- 
ται: cf. τοῖς ἐφεστῶσι σφαγῇ ν. 726, 
θυμάτος ἐπιστάτης Hee. 223. 

1285. ποῦ κυρεῖ βεβώς : Where is he 
gone? Cf. βεβᾶσι φροῦδοι (“are gone 
off”), vs. 1289, 1478. Strictly, how- 
ever, not motion, but position, is indi- 
cated by βεβηκέναι. Cf. γεγώς for dr. 
--- κυρεῖ : τυγχάνει. 

1291 f. φεύγοντες καὶ λαβόντες: 
obs. the different tenses. ‘In flight, 
taking with them.” For the const, 


oa 


"“ dhe 


IPHIGENIA AMONG THE TAURIANS. 


173 


ΧΟΡΟΣ. 


ἄπιστον εἶπας μῦθον" ὃν δ᾽ ἰδεῖν θέλεις 


5», ’ A > A ed 
ἄνακτα χώρας, φροῦδος ἐκ ναοῦ συθείς. 


ΑΓΓΕΛΟΣ. 


1295 ποῖ; δεῖ γὰρ αὐτὸν εἰδέναι τὰ δρώμενα. 


ΧΟΡΟΣ. 


»)ς 


> » ΕΣ \ “A \ , , 
οὐκ ἴσμεν" ἀλλὰ στειχε και δίωκέ νιν 


9 4 , > > - , 
ὅπου κυρήσας τούσδ᾽ ἀπαγγελεῖς λόγους. 


ΑΓΓΕΛΟΣ. 


yy A 
ὁρᾶτ᾽, ἄπιστον ὡς γυναικεῖον yEevos, 


μέτεστι χὑμῖν τῶν πεπραγμένων μέρος. 


ΧΟΡΟΣ. 


1800 paiva’ τί δ᾽ ἡμῖν τῶν ξένων δρασμοῦ μέτα; 


> Ν ψ , 
οὐκ εἶ κρατούντων πρὸς πύλας ὅσον τάχος; 


ΑΓΓΕΛΟΣ. 


> ,ὕ Φ ἃ » ¥ ε Ν ’ὔ 
οὐ πρίν γ᾽ ἂν εἴπῃ τοὔπος ἑρμηνεὺς τόδε, 


¥»> » »»» > ¥ ’ N , 
εἴτ᾽ ἔνδον ELT οὐκ ἔνδον ἀρχηγὺς χθονός. 


with φροῦδοι, see on v. 1294. --- Notice 
the messenger’s amplitude of phrase 
in both these quatrains, and cf. the 
same thing in vs. 258-245. 

1293 f. ὃν ἄνακτα: see on v. 979. 
Here the subj. nom. (ἄναξ) is attracted 
and assimilated; cf urbem quam 
statuo vestra est Verg. Aen. i. 
573. — φρούδος συθείς : sped and gone. 
Cf. φροῦδος θανών Soph. Li. 1152, φροῦ- 
δος ἐς ἽΑιδην | θάνατος προφέρων σώ- 
ματα τέκνων Med.1110. The participle 
is supplementary to φροῦδος. 

1295. τὰ δρώμενα: obs. the tense; 
the affair is not yet finished. 

1297. “Until you catch him and 
tell him your story.” — ὅπου: ἐκεῖσε 


ὅπου. For the construction, ef 
v. 119. 

1298. The messenger penetrates 
the design of the coryphaeus to put 
him off. — χύμῖν : καὶ ὑμῖν (you your- 
selves). 

1301. “ Why don’t you go as fast 
as you can to the king’s house ?” — 
It may be fairly inferred from these 
words that Thoas’ residence was sup- 
posed to lie on the side opposite to 
that whence the messenger had en- 
tered. See p. 23. 

1302. ἑρμηνεύς : 1.6. ἑρμηνεύς τις, 
‘qui exponere possit. “Not 
until I get a correct interpretation of 
this point.” —é€mos τόδε: explained 


114 


ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ὠὴ χαλᾶτε κλῇθρα, τοῖς ἔνδον λέγω, 


A , 3 , > 4 > . 4 
1305 καὶ δεσπότῃ σημήναθ᾽ οὕνεκ᾽ ἐν πύλαις 
πάρειμι, καινῶν φόρτον ἀγγέλλων κακῶν. 


ΘΟΑΣ. 


τίς ἀμφὶ δῶμα θεᾶς ὅδ᾽ ἵστησιν βοήν, 
πύλας ἀράξας καὶ ψόφον πέμψας ἔσω; 


ΑΓΓΕΛΟΣ. 


ἔφασκον αἵδε καί μ᾽ ἀπήλαυνον δόμων, 


ε 3 ᾿ς ¥ \ A 9 5 5 3 » 
1810 ὡς ἐκτὸς εἴης: σὺ δὲ κατ᾽ οἶκον ἦσθ᾽ apa. 


ΘΟΑΣ. 


τί προσδοκῶσαι κέρδος ἢ θηρώμεναι; 


ΑΓΓΕΛΟΣ. : ἱ ᾿ 


> Ν a ω Ν ΞΡ A 
αὖθις τὰ τῶνδε σημανῶ" τὰ δ᾽ ἐν ποσὶν 


’ > + 
Tap OVT AKOVOGOV. 


ἡ νεᾶνις, ἣ ᾽νθάδε 


“Ὁ ’, 3 > ἊΝ 3 κά Ν 
βωμοῖς παρίστατ᾽, ᾿Ιφιγένει᾽, ἔξω χθονὸς 
x “A ἊΝ » XN αν 
1315 σὺν τοῖς ἕξένοισιν οἴχεται, σεμνὸν θεᾶς 


ἄγαλμ᾽ ἔχουσα" δόλια δ᾽ ἦν καθάρματα. 


by v. 1808; in fact the original ques- 
tion, ποῦ κυρεῖ BeBas ; 

1304. He draws near and knocks 
loudly. — oy: Ho there! 

1306. καινῶν... κακῶν : with a 
whole shipload of bad news to tell. 

1307 f. Thoas, disturbed at his work 
of fumigating, makes his appearance 
at the temple-door. — τίς... ὅδ᾽ ἵστη- 
σιν βοήν: Who is this raising a clamor, 
etc.? — ἀράξας : cf. v. 310. 

1309 f. The man has to explain, 
first of all, his unseemly invasion of 
the quiet sanctity of the premises. 
These women pretended to say, and 
would drive me from the doors, that 
you, εἰς. ---- ἔφασκον : equiv., as often, 
to ψευδῶς ἔλεγον, which the Mss. here 


> 


give, unmetrically.— ἔφασκον καὶ 
ἀπήλαυνον : 1.6. ἔφασκον ἀπελαύνουσαι. 
—ov δὲ... ἄρα: see on vy. 9561. 

1312 f. αὖθις... onpave: J will 
explain their case by and by.—7a... 
παρόντα: τὰ ἐν ποσίν, ἃ common 
phrase for what is immediately pres- 
ent; cf. τοὺν ποσὶν yap οἰστέον κακόν 
Alc. 749. 

1317. πῶς φής: the formula is ex- 
pressive of astonishment by its very 
sound. Cf. πῶς φής; πέφευγε τοὔπος 
ἐξ ἀπιστίας Aesch. Ag. 268; ποῦ; πᾶ; 
πῶς φής; Ar. Α4υν. 818. Note the allit- 
eration in both passages (φ sounds 
like pu, not like f).— τί πνεῦμα κτλ. : 
What breeze of fortune has she caught ? 
Still another metaphor from sailing. 


IPHIGENIA AMONG THE TAURIANS. 


175 


ΘΟΑΣ. 


πῶς φής; τί πνεῦμα συμφορᾶς κεκτημένη; 


ΑΓΓΕΛΟΣ. 


ζ 3 Ὀ δ : ~ A Ἁ θ 4 
aw@love Ὀρέστην" TovTo yap ov θαυμασει. 


@OAS. 


Ἀ ΄Κ > 5 ἃ A ͵͵ 4 
TOV ποιον; ap ὃν Τυνδαρὶς τίκτει κορη; 


ATTEAOS. 


1320 ὃν τοῖσδε βωμοῖς θεὰ καθωσιώσατο. 


ΘΟΑΣ. 


ὦ θαῦμα, πῶς σε μεῖζον ὀνομάσας τύχω; 


AITEAOS. 


μὴ vravda τρέψης σὴν φρέν᾽, ἀλλ᾽ ἀκουέ pov: 


σαφῶς δ᾽ ἀθρήσας καὶ κλύων ἐκφρόντισον 


διωγμὸς ὅστις τοὺς ξένους θηράσεται.᾽ 


ΘΟΑΣ. 


1325 hey’: εὖ γὰρ εἶπας - οὐ γὰρ ἀγχίπλουν πόρον 


4 7 A“ > Ν / 
φεύγουσιν, ὥστε διαφυγεῖν τοὐμὸν δόρυ. 


The question is like v. 1311, both in 
form and effect. 

1318. σῳζουσ᾽ ᾽Ορέστην : “the for- 
tune of saving Orestes.” Adapted in 
const. to the participle κεκτημένη V. 
1317.— γάρ: refers to the startling 
name, as to an interjection. 

1319. τὸν ποῖον : “What Orestes?” 
ποῖος is not barely interrogative, but 
generally implies feeling of some 
sort; cf. v. 1030. As for the article, 
even τὸ τί; occurs in comedy. 

1320. ov κτλ.: “for he it was, etc.” 
Cf. v. 56. Here adapted drily to ὃν 
τίκτει V. 1819, — καθωσιώσατο : mid. 
(see on y. 849) ; the active would be 
said of the priestess. 


Ὁ 

1321. Apostrophe. O thou Marvel ! 
by what greater name may I rightly call - 
thee? — To Thoas, θαῦμα is a weak 
word. — tvx@: τυχεῖν (“hit the 
mark”) is often employed as here; 
cf. ποίας ἂν ὑμᾶς πατρίδος ἢ γένους ποτὲ 
| τύὐχοιμ᾽ ἂν εἰπών; Soph. Pail. 
222, 

1822. ἐνταῦθα: viz. in the direc- 
tion of finding the right name for the 
circumstance. 

1323 f. These two lines are quite 
in the messenger’s style. — διωγμὸς 
ὅστις : hyperbaton for ὅστις διωγμός. 

1325 f. οὐ γὰρ κτλ. : on no such nigh- 
bound voyage they flee as to escape my 
arméd hand, — Note the distinction 


176 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΑΓΓΕΛΟΣ. 


ἐπεὶ πρὸς ἀκτὰς ἤλθομεν θαλασσίους, 


οὗ ναῦς Ὀρέστου κρύφιος ἢν ὡρμισμένη, 


ε A , ἃ Ν Ν , : , ὃ 
ἡμᾶς μέν, OVS σὺ δεσμὰ συμπέμπεις . ξένων 


» 3 ᾽ 3 > “A , 
1330 EX OVTAS, ἐξένευσ ATOOTYVAL TPOOW 


3 4 A ε 3 » / 
Αγαμέμνονος παῖς, ws ἀπόρρητον φλόγα 


θύουσα καὶ καθαρμὸν ὃν μετῴχετο. 


- Ween / A , er eee κα ‘ “A v4 
QUT) δέ, χέῤσι δέσμ εχουσα TOLV E€vow, 


» > » 
ἔστειχ ὄπισθε. 


\ 43 5 ν : ha 
KQUL TAO VY VTOTTTA μὲν, 


nw 5», ξ 
1335 ἤρεσκε μέντοι σοῖσι προσπόλοις, ἀναξ. 
μ 


χρόνῳ δ᾽, ἵν᾿ ἡμῖν δρᾶν τι δὴ δοκοῖ πλέον, 


ἀνωλόλυξε καὶ κατῇδε βάρβαρα 


between φεύγειν and φυγεῖν, here 
clearly exhibited. —80pv: said typi- 
cally; like dopi (see on v. 519). Cf. 
λόγχην v. 1484.— This transitional 
distich is intended to justify the long 
ῥῆσις which follows. See p. 31, foot- 
note. 

1329 f. ἡμᾶς μέν : for our part. Cor- 
relative to αὐτὴ δέν. 1835. — ἐξένευσε 

εὐ πρόσω : signed to us to stand off in 
advance. νεῦσαι. “nod.” ἐξ and ἀπό 
have a similar force in composition 
here. 

1331 f. ἀπόρρητον : although not 
pred., is the significant word of the 
passage. —@vovoa: followed by φλόγα 
and καθαρμόν as free cognate accusa- 
tives; cf. θύω... καθάρσιον πῦρ Herc. 
Fur. 986; similarly, πόρον φεύγουσιν 
v. 1825. —“ Giving the reason that 
she was engaged in a holy rite, with 
mystic flame, for purification,” ete. — 
The pres. participle applies to the 
whole performance in which she was 
engaged, although this had not actu- 
ally begun when she ordered the at- 
tendants to move on (cf. ἀγγέλλων V. 
1306). 


1333 f. αὐτὴ δέ: “while she.” —€xov- 
oa χερσί: holding. — ὄπισθε ἔστειχε: 
marched in the rear. 
the description that the priestess and 
the prisoners were left behind, to turn 
off and halt where it pleased her for 
the performance of the rite. 

1334 f. καὶ τάδε κτλ. : all this was 
matter of suspicion to be sure; your ser- 
vants, however, made the best of it, sire. 
—For ἀρέσκειν, as here used, cf. the 
German ‘sich gefallen lassen,’ also 
δοκεῖν “make believe” (seem on pur- 


pose) v. 956, στέργειν “put up with” 


(love from a sense of duty). — μέντοι: 
correlative to μέν, as often. 

1336. χρόνῳ : presently; this dative 
is peculiar, but common and exactly 
like our ‘in time.” — Spav τι. . . 
πλέον : might seem forsooth to be get- 
ting on (viz. in the ceremony). πλέον 
conveys the idea of progress, as in the 
phrase πλέον ἔχειν that of advantage. 


1337 f. She raised the holy cry and 


proceeded to chant with outlandish magi- 
cal incantations. —dvwdodvke: ὀλολύ- 
ζειν, dAoAvyh, Of women’s voices in 
ritual observance ; cf. ὀλολυγμὸν ἱερὸν 


It is implied by — 


IPHIGENIA AMONG THE TAURIANS. ae νυ 


έλη μαγεύουσ᾽, ws φόνον vilovaa δή. 
μέλῃ: pay. ἢ 


3 \ \ Ν > Y . , 
€7T EL δὲ δαρὸν μεν μενοι ἌΧΡρΟνΟΝ, 


1840 ἐσῆλθεν ἡμᾶς μὴ λυθέντες οἱ ἕένοι 


’ > ‘\ , > > 4 
κτάνοιεν αὐτὴν δραπέται τ᾽ οἰχοίατο. 


φόβῳ δ᾽ ἃ μὴ χρὴν εἰσορᾶν καθήμεθα 


ws ΔῊ δὲ aC ear > ike ? 
ovyy) TEAOS Giar W QAvTOS ὯΝ ογος, 


, : it  .ὧἦδ , 
στείχειν ἵν᾽. ἦσαν, καΐπερ οὐκ ἐωμένοις. 


1845 κἀνταῦθ᾽ ὁρῶμεν “Ἑλλάδος νεὼς σκάφος 


“oad - > Ses, al , 
ναύτας TE πεντήκοντ ἐπὶ σκαλμῶν πλάτας 


¥ 3 la \ Ν ΄ 
EXOVTAS, EK δεσμῶν δὲ τους νεανιας 


3 ’ 4 « “A ’ὔ 
ἐλευθέρους πρύμνηθεν ἑστῶτας νεώς. 


1860 κοντοῖς δὲ πρῴραν εἶχον, οἱ δ᾽ ἐπωτίδων 


8" 5 A ἃ Ν ᾽’ 
ἄγκυραν ἐξανῆπτον, οἱ δὲ κλίμακας 


πόντῳ διδόντες τοῖν ἕένοιν καθίεσαν. 


εὐμενῆ παιάνισον Aesch. Sept. 268, ad- 
dressed to the chorus of women. — 
βάρβαρα: this word. denotes any unin- 
 telligible utterance. What Iphigenia 
said was ‘all Greek’ to the Barbarians. 
~ 1340 f. It occurred to us that the for- 
eigners getting loose might have killed her 
and made off in flight. Thus in Eng- 
lish, although the optatives refer as 
usual to the future (cf GMT. 15, 1 
Rem.). The construction is peculiar 
merely in that the ‘object clause’ 
with μή, which implies fear, as al- 
ways, here appears as the subject of 
the leading verb. 
' 1342-1344. Cf. the situation at vs. 
295 1. --Ο'ὑ μὴ χρῆν : sc. εἰσορᾶν. The 
whole phrase is equiv. to τὰ ἄρρητα 
(ef. v. 1198). The past tense χρῆν is 
by assimilation to the time of the lead- 
ing verb καθήμεθα. --- εἰσορᾶν : const. 
with φόβῳ. Cf. ν. 1880. --- πᾶσιν... 
λόγος : all were of one mind (see on Υ. 
578).— οὐκ ἐωμένοις : forbidden. οὐκ 
ἐῷ (veto) like οὔ φημι (nego). Cf. 


οὐκ ἐῶ ord ew δάκρυ (“1 bid you weep 
not”) Iph, Aul. 1466. See H. 1028. 

1347-1349. ἐπὶ σκαλμῶν : σκαλμός, 
thole (row-lock or pin).— €k δεσμῶν : 
const. with ἐλευθέρου. ----τοὺς νεανίας : 
viz. Orestes and Pylades, the δίπτυχοι 
νεανίαι, as is made perfectly clear by 
the position. — πρύμνηθεν νεώς : abaft 
the vessel. But still on shore, as the 
narrative shows. The Greeks moored 
their boats bows out. For πρύμνηθεν 
instead of κατὰ πρύμναν, cf. the freq. 
ἐγγύθεν for ἐγγύς, e.g. ὅταν παραστῶ σοὶ 
μὲν ἐγγύθεν ποδός Lon 612. 

1350. εἶχον: the subj. is general 
(they), but since the whole crew would 
of course not be engaged in steadying 
the prow, οἱ δέ follows as if οἱ μέν had 
preceded.—éawridwv: to the catheads. 

1351 ἢ, οἵ δὲ... καθίεσαν : while 
still others were giving to the sea a lad- 
der lowered for the pair. 'The technical 
name of a landing-ladder was ἀπο- 
βάθρα. ---- Considerable doubt attaches 
to the text of vs. 1845-1358, 


178 ΕΥ̓ΡΙΠΊΔΟΥ I®ITENEIA. 


ἡμεῖς δ᾽ ἀφειδήσαντες, ὡς ἐσείδομεν 


1355 δόλια τεχνήματ᾽, coppice τῆς ἕένης 


πρυμνησίων ΤΕ, καὶ δι᾽ εὐθυντηρίας 


οἴακας ἐξῃροῦμεν εὐπρύμνου νεώς. 


λόγοι δ᾽ ἐχώρουν. 


τίνι νόμῳ πορθμεύετε 


, > ΝᾺ td * ,ὔ 
κλέπτοντες ἐκ γῆς ξόανα καὶ θυηπόλους; 


18600τίνος τίς ὧν σὺ τήνδ᾽ ἀπεμπολᾷς χθονός; 


δ 3 δ 59 > 4 A ΣΡ ε ' 4Q) ‘ 
ὃ δ᾽ εἶπ᾽ - ᾿Ορέστης, τῆσδ᾽ ὅμαιμος, ws μάθῃς, 


᾿Αγαμέμνονος παῖς, τήνδ᾽ ἐμὴν κομίζομαι 


λαβὼν ἀδελφήν, ἣν ἀπώλεσ᾽ ἐκ δόμων. 


ἀλλ᾽ οὐδὲν ἧσσον εἰχόμεσθα τῆς ἕένης 


1365 καὶ πρὸς σ᾽ ἕπεσθαι διεβιαζόμεσθά νιν. 


Y \ ἧς l4 - ale - 
ὅθεν τὰ δεινὰ πλήγματ᾽ ἦν γενειάδων " 


κεῖνοί τε γὰρ σίδηρον οὐκ εἶχον χεροῖν 


1354-1357. ἀφειδήσαντες : ‘dismiss- 
ing all scruples.” They felt bound 
to spare the priestess no longer, when 
they saw her work. — εἰχόμεσθα : laid 
hold of; although the impf. shows 
them already holding on. — πρυμνή- 
σια: stern-cables.— καὶ διὰ κτλ.: and 
endeavored to unship the rudder of the 
goodly bark. The εὐθυντηρίαι are the 
guides or guiding-holes of the steer- 
ing-oar. Cf. v. 452, where the inter- 
pretation of εὐναίων is doubtful. 

1358-1360. λόγοι δ᾽ ἐχώρουν : words 
ran high. —rive νόμῳ: By what right? 
- ξόανα καὶ θυηπόλους : notice the 
contemptuous effect of the generaliz- 
ing plural.— Kidnapping flourished 
in the days of universal slavery. See 
the story of Eumaeus in Homer 
(o 416 ff.), and the fine Homeric 
Hymn vii. ‘Dionysus or the Bucca- 
neers. It would be interesting to 
know how large a demand there was 
for ξόανα. 

1360. τίνος τίς av: two interroga- 


tives without connective; cf. ὦ φίλος, 
εἰπὲ ποῦ τίς ἀλκά; Aesch, Pr, 546. 
See H. 1018. Cf also, for both form 
and sense, the Homeric tis πόθεν eis 
ἀνδρῶν; (a 170). τίνος calls for the 
father’s name, which a man regularly 
added to his own, unless he was κακὸς 
κὰκ κακῶν. We should say here “ Who 
and what are you?” ‘Whose dog 
are you?’ is a sort of parallel to the 
Greek.—ov: said to Orestes person- 
ally, who is recognized as ringleader. 
Euripides keeps his hero in the front 
with great skill, even in the narrative 
passages. 

1365. πρὸς σὲ κτλ.: tried to force 
her to come along with us to you. 

1366. ὅθεν τὰ δεινὰ κτλ.: cf. hine 
illae lacrumae Ter. Andr. i. 199. 


For the article, cf v. 320. Here, the © 
impression is not made on the mind — 


only. 

1367 f. κεῖνοί τε. .. οὐκ εἶχον... 
ἡμεῖς τε: instead of οὔτ᾽ ἐκεῖνοι εἶχον 
οὔθ᾽ ἡμεῖς. The neg. particle belongs 


IPHIGENIA AMONG THE TAURIANS. 


179 


» rl ᾷ i“ 
ἡμεῖς τε" πυγμαὶ δ᾽ ἦσαν ἐγκροτούμεναι, 


Ν τς ἮΣ > > 3 A lal , Ψ 
καὶ KON ἀπ᾿ ἀμφοῖν τοῖν νεανίαιν aya 
> τάν \ \ a , 
1370 εἰς πλευρὰ καὶ πρὸς ἧπαρ ἠκοντίζετο,. 
Y ᾿ , \ ~ 
ὥστε ξυνάπτειν καὶ συναποκαμεῖν μέλη. 


δεινοῖς δὲ σημάντροισιν ἐσφραγισμένοι 
ἐφεύγομεν πρὸς κρημνόν, οἱ μὲν ἐν κάρᾳ 
, - ae, , > ἃ ee » ᾿ 
- κάθαιμ᾽ ἔχοντες τραύμαθ᾽, ot δ᾽ ἐν ὄμμασιν. 
1375 ὄχθοις δ᾽ ἐπισταθέντες, εὐλαβεστέρως 


3 , \ lA 5 ’ 
ἐμαρνάμεσθα καὶ πέτρους ἐβάλλομεν. 

3 tS. ‘ ε “ 4 Fd » 
ἀλλ᾽ εἶργον ἡμᾶς τοξόται πρύμνης ἔπι 
σταθέντες ἰοῖς, ὥστ᾽ ἀναστεῖλαι πρόσω. 


κἀν τῷδε, δεινὸς γὰρ κλύδων ὦκειλε ναῦν 
1380 πρὸς γῆν, φόβος δ᾽ ἦν παρθένῳ τέγξαι πόδα, 
λαβὼν ᾿Ορέστης ὦμον εἰς ἀριστερόν, 

Ν. 3 ΄ ᾿ 5 Ν ’ὔ’ ᾿ς 
βὰς εἰς θάλασσαν κἀπὶ κλίμακος θορών, 


closely to the verb, and the sentence 
as a whole is felt as rather affirma- 
tive than negative (“both they and 
- we were unarmed”). Cf. vs. 1477 f. 
-πκυγμαὶ κτλ.: ‘pugni erant qui 
impingebantur.’ 

1369 f. κῶλα ἠκοντίζετο: “heels 
flew lively.” Cf. v. 862.— dpa: ie. 
πυγμαί and κῶλα all at once. 

1371. The subj. of the infinitives is 
felt as ἡμᾶς, implied before in εἰς 
πλευρὰ καὶ πρὸς ἧπαρ. There is point 
in the repetition of σύν in composi- 
tion. “So that we no sooner closed 
with them than we gave out in every 
limb.” — Demosthenes has a word to 
say about the poor boxing of foreign- 
ers (βάρβαροι), iv. 40. 

1372. ἐσφραγισμένοι : mention of 
the σφραγίς “signet,” which was used 
for both personal and official busi- 
ness, is freq. in Greek. Cf. σφραγῖδα 
φύλασσ᾽ ἣν ἐπὶ δέλτῳ | τήνδε κομίζεις 


Iph. Aul. 1δδ. Peisthetaerus to Iris: 
oppayid ἔχεις παρὰ τῶν πελαργῶν; 
(‘ Have you been properly stamped?” 
Ar. Av. 1213. 

1373-1376. The Taurians fall back 
from the level beach to the sea-banks 
(κρημνός, ὄχθοι), where they resume 
the contest with a fire of stones, no 
longer at close quarters, but in a better 
position for defence (evAaBeorépws). 

1378. ὥστε... πρόσω: with such 
effect as to drive us back still farther. 

1379-1385. Lest the favorable mo- 
ment should be lost, as the craft is 
impelled shoreward by a heavy surf, 
Orestes lifts Iphigenia, who hesitates 
to step into the water herself, and 
wades with his burden to the ladder. 

1379 f. ἐν τῴδε: “at this crisis of 


affairs.” -- δεινὸς γὰρ... πόδα: par- 
enthetical. — mere: ὀκέλλειν, poetic 
form κέλλειν (κελ, celer, KéAns 


“yacht,” etc.), to ‘beach’ a vessel. 


180 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


᾿ἔθηκ᾽ ἀδελφὴν ἔντος εὐσέλμου νεὼς 
τό T οὐρανοῦ πέσημα, τῆς Διὸς κόρης 


1385 ἄγαλμα. 


ναὸς δ᾽ ἐκ μέσης ἐφθέγξατο 


βοή τις" ὦ γῆς Ἑλλάδος ναύτης λεώς, 


λάβεσθε κώπης ῥόθιά τ᾽ ἐκλευκαίνετε" 


»Ἁ» Ν @ ν 3 » , 
EXOMEV Yap WVTEP EWEEK ἄξενον TOpPOVv 


Συμπληγάδων ἔσωθεν εἰσεπλεύσαμεν. 
1390 οὗ δὲ στεναγμὸν ἡδὺν ἐκβρυχώμενοι 


¥ Y 
ἔπαισαν ἀλμην. 


A 3 Y x 9 \ > 
ναῦς δ᾽, ἕως μὲν ἐντὸς HY 


λιμένος, ἐχώρει: στόμια διαπερῶσα δὲ 


λάβρῳ κλύδωνι συμπεσοῦσ᾽ ἠπείγετο" 


1384. οὐρανοῦ πέσημα: cf v. 88. 
The gen. of source with a substantive 
is the converse of γῆς πατρῴας νόστος 
v. 1066. Somewhat similar is ‘ god- 
send,’ ‘ windfall.’ 

1385 f. ναὸς... βοή tis: then from 
_ mid-ship there sounded forth a cry. 
A supernatural utterance is meant 
(hence τὶς), such as will issue from 
a throng in a moment of thrilling ex- 
citement — from whose lips no one 
can tell. Euripides can hardly have 
meant us to imagine the voice as 
coming from the goddess on board, 
considering the turn he gives to events 
at the close of the narrative. The 
words of the voice are vs. 1886-1389. 

1386. ὦ γῆς “Ἑλλάδος : the national 
spirit is apt to burst out thus in the 
drama; cf. τί μέλλετ᾽, ὦ γῆς Ἑλλάδος 
λωτίσματα (“flower”), | σφάζειν φο- 
νεύειν βαρβάρους νεώς τ᾽ ἄπο | ῥίπτειν 
ἐς oldua; Hel. 15938. Downright his- 
tory in Aeschylus: ὦ παῖδες Ἑλλήνων 
tre κτλ. Pers. 402. --- ναύτης λεώς: 
‘‘shipmates.” ναύτης is here an ad- 
jective; cf. ναύταν ὅμιλον Hec. 921. 

1387. “Lay to, and ply the yeasty 
surge!” Cf. tortaque remigio 
spumis incanduit unda Catul- 


lus lxiv. 18.— ῥόθια : ῥόθιον, though — 


properly not so strong a word as 
surge, often shows its original force, 
which is greater than is implied by 
plash. Of. ἐπ᾽ ᾿Αμφιτρίτης ῥοθίῳ v. 425. 

1390. Whereat, fetching a deep glad 
groan, they smote the brine. —arevaryuds, 
always of a pent-up sound, here pecu- 
liarly with ἡδύς, of the voiced breath 
that escapes at the putting forth of a 
powerful but satisfying effort of mus- 
cular and nervous force. 
partly the sigh of relief after the 
suspense of waiting for the start. 
βρυχᾶσθαι “to low,” “to bellow,” but 
not by any means restricted to ani- 
mals. — One can fairly see the oars 
bend in reading such a line as this. 


- ἔπαισαν ἅλμην: the aor. marks - 


the instant of starting; contrast the 
imperfects that follow. The same 
words occur in Aeschylus, with simi- 
lar effect, at the beginning of the 
verse; see on vy. 1405 jin. 
1391-1393. vats δέ: emphasized 
in contrast with the crew. — ἐχώρει: 
made headway. — στόμια διαπερῶσα 
KTA.: but as she crossed the bar, encoun- 
tering a furious sea she labored sore. — 
ἠπείγετο : passive, “was rushed,” se. 


— 


It is also — 


a oe > 


IPHIGENIA AMONG THE TAURIANS. 


181 


Ν ἊΝ > Ν y . 9 , \ 
δεινὸς yap ἐλθὼν ἄνεμος ἐξαίφνης νεὼς 
ταρσῷ κατήρει πίτυλον ἐπτερωμένον 


1395 ὥθει παλιμπρυμνηδόν" ot δ᾽ ἐκαρτέρουν 


Ν A ’ὔ > \ ΜᾺ ’, 
πρὸς κῦμα λακτίζοντες - εἰς δὲ γῆν πάλιν 


κλύδων παλίρρους ἢ γε ναῦν. 


σταθεῖσα δὲ ¥ 


> , “~ ¥ > > ἴω / 
Αγαμέμνονος παῖς evEat + ὦ Λητοῦς κόρη, 


σῶσόν με τὴν σὴν ἱερίαν πρὸς “Ἑλλάδα 


1400 ἐκ βαρβάρου γῆς καὶ κλοπαῖς σύγγνωθ᾽ ἐμαῖς. 
φιλεῖς δὲ καὶ σὺ σὸν κασίγνητον, Ded: 


ἵ Pie 4 > τὰ \ : 7 ΄ 
φιλεῖν δὲ κἀμὲ τοὺς ὁμαίμονας δόκει. 


“ναῦται δ᾽ ἐπευφήμησαν εὐχαῖσιν κόρης 


in the wrong direction. 
Ποσειδάων evepyéa vip ἐνὶ πόντῳ | palon 
émeryoueyny ἀνέμῳ καὶ κύματι πηγῷ 
Hom. ψ 234. 

1394-1396. δεινὸς... ἐξαίφνης : 
the whole circumstance is unlikely 
and undramatic; see Introd. p. 27.— 
νεὼς... παλιμπρυμνηδόν: forced the 
Jlying ship, her winged oarage with trim 
blade full-plumed, stern-foremost back. 
—veos πίτυλον : for the ship itself; 
cf. v. 1050. — rape . . . ἐπτερωμένον : 
see on v. 289. ταρσός, palmula 
remi, also the flat, of a bird’s wing; 
cf. our ‘feathering’ the oar. — ἐκαρ- 
τέρουν : persevered. — πρὸς κῦμα Aak- 
τίζοντες : “battling with the wave.” 
πρὸς κέντρα λακτίζειν ‘to kick against 
the pricks’ is here varied by Eu- 
ripides, as elsewhere by Aeschylus 
in a characteristic way: οὔκουν ἔμοιγε 
χρώμενος διδασκάλῳ | πρὸς κέντρα κῶ - 
λον ἐκτενεῖς Pr. 822. The say- 
ing is familiar, from the voice that 
spoke to Saul: σκληρόν σοι πρὸς κέντρα 
λακτίζειν Act. Apost. xxvi. 14, a pas- 
sage which singularly concurs with 
one of Euripides (θύοιμ᾽ ἂν αὐτῷ μᾶλ- 
λον ἢ θυμούμενος | πρὸς κέντρα λακτί- 
Come θνητὸς ὧν θεῴ Bacch. 794, 


Cf. ὧν te 


said by the disguised Bacchus to 
Pentheus). 

1397. κλύδων παλίρρους : refluent 
διϊίοιυ. ---- ἦγε: Obs. the tense; cf. ἤει 
1406. 

1401 f. Notice the thoroughgoing 
parallelism of arrangement between 
the two lines of this distich, and cf 


᾿μητρός τε πληγὴν tis κατασβέσει 


δίκη; [πατρίς τε γαῖα σῆς ὑπὸ σπου- 
δῆς δορὶ | ἁλοῦσα πῶς σοι ξύμμαχος“ γε- 
νήσεται; Aesch. Sept.584. The doubled 
idiomatic καί here (καὶ σύ, κἀμέ) an- 
swers to the doubled τέ of the two 
parallel questions in the Aeschylean 
passage. — τοὺς ὁμαίμονας : there is a 
fineness in this plural; the appeal is 
not to a fact merely, but to a prin- 
ciple.—8oxe: believe. Goethe has 
imitated this: ‘Du liebst, Diane, dei- 
nen holden Bruder | Vor allem, was 
dir Erd’ und Himmel bietet, . . . O 
lass den Einz’gen, Spiitgefundnen mir 
| Nicht in der Finsterniss des Wahn- 
sinns rasen!’ Iphigenie iii. 3. 
1403-1405. ἐπευφήμησαν . . . παι- 
ἄνα : breathed a paean responsive to the 
maiden’s prayer. The paean is offered 
to the ‘Brother’ named by Iphigenia. 
— γυμνὰς... ἐπωμίδας : arms bare to 


182 


παιᾶνα, γυμνὰς ἐκ χερῶν ἐπωμίδας 


ΕΥ̓ΡΙΠΠΔΟΥ IdITENETA. 


1405 κώπῃ προσαρμόσαντες ἐκ κελεύματος. 


μᾶλλον δὲ μᾶλλον πρὸς πέτρας yer σκάφος. 


xo μέν τις εἰς θάλασσαν ὡρμήθη ποσίν, 


ἄλλος δὲ πλεκτὰς ἐξανηπτεν. ἀγκύλας. 


κἀγὼ μὲν εὐθὺς πρὸς σὲ δεῦρ᾽ ἀπεστάλην, 


1410 σοὶ τὰς ἐκεῖθεν OOM, ava, τύχας. 


ἀλλ᾽ ἕρπε, δεσμὰ καὶ βρόχους λαβὼν. χεροῖν" 


εἰ μὴ γὰρ οἶδμα νήνεμον γενήσεται, 
οὐκ ἔστιν ἐλπὶς τοῖς ἕένοις σωτηρίας. 


ν᾽ 3 5 ’ » 4 3 3 ΄“ 
πόντου ὃ ἀνάκτωρ Ἰἱλιὸν T ἐπισκοπεῖ 


1415 σεμνὸς Ποσειδῶν, Πελοπίδαις δ᾽ ἐναντίος " 


Ν a 4 \ > , ’ 
και νυν παρέξει τὸν Αγαμέμνονος yovov 


\ Ν ,ὔ ε y 5 n 
σοὶ καὶ πολίταις, ὡς εἐοικεν, ἐν χεροῖν 


λαβεῖν ἀδελφήν θ᾽, 


φόνον τὸν Αὐλίδι 


3 , x al 3 ε ’ 
ἀμνημόνευτον θεᾷ προδοῦσ᾽ ἁλίσκεται. 


the shoulder. Such is apparently the 
meaning, the Greek phrase being the 
reverse of the English, as regards the 
‘termini.’—é€k κελεύματος : 1.6. at 
the lead of the κελευστής (see on vs. 
1126 ff.). Cf ἔπαισαν ἅλμην βρύχιον ἐκ 
κελεύματος Aesch. Pers. 397. 

1406. μᾶλλον δὲ μᾶλλον κτλ. : simi- 
lar is another line of Euripides, imi- 
tating the slow bending down of a 
tree-stem: κατῆγεν, ἦγεν, ἦγεν és μέλαν 
πέδον. For μᾶλλον μᾶλλον, cf. εἶτα 
μᾶλλον μᾶλλον ἄξεις | καὶ φυλάξεις 
‘Ar. Ran. 1001, ἐπινέφει τὸ πρῷτον ὃ 
Ζεὺς ἡσυχῇ, | ἔπειτα μᾶλλον μᾶλλον 
Alexis 29. Imitated by Catullus (of 
waves): post vento crescente 
magis magis increbrescunt 
Ixiv. 274. 


1407-1410. The messenger reverts _ 


to the movements of his own party 
on the shore. — kal ὃ μέν τις : see H. 


654 a. The correlative is ἄλλος δέ, 
for ὃ δέ. --- ἐξανῆπτεν : sc. toanything 
convenient for making fast on land, 
while the other end of the ropes was 


“to be attached to the vessel by the 


men who waded out to meet her. — 
ἀγκύλας : much the same as βρόχους 
(“nooses”) v.-1411. The Taurians — 
were born wreckers, no doubt. — ἐγὼ 
μέν: for my own part. The antithe- 
ton is in the whole context, as often. 

1415 f. Πελοπίδαις δὲ κτλ.: and, 
ever a foe to the sons of Pelops, he will 
even now deliver, etc. For δέ after τέ, 
see H. 1040 b.— καὶ νῦν : i.e. consist- 
ently now with his attitude before, as 
displayed in the tale of Troy. 

1418 f. φόνον... ἁλίσκεται: “is 
found guilty of betraying the goddess’ 
trust in that forgotten murderous 
deed at Aulis.” According to the 
popular view, which has been pre- 


2 Ὁ 


1420 ὦ τλῆμον Ἰφιγένεια, 


IPHIGENIA AMONG THE TAURIANS. 


συγγόνου μέτα 


183 


ΧΟΡΟΣ. 


J nw 4 ~A al , 
θανεῖ, πάλιν podovoa δεσποτῶν χέρας. 


ΘΟΑΣ. 


ὦ πάντες ἀστοὶ τῆσδε βαρβάρου χθονός, 


> > 4 3 , ε / 
οὐκ εἶα πώλοις ἐμβαλόντες ἡνίας 


᾽ “A 5 ‘ XN 
παράκτιοι δραμεῖσθε κἀκβολὰς νεὼς 
1425 “Ἑλληνίδος δέξεσθε, σὺν δὲ τῇ θεῷ 
ξ , » A ld 
σπεύδοντες ἄνδρας δυσσεβεῖς Onpacere, 


ἃ δ᾽ > ‘ 4 > > ? , 
οἱ δ᾽ ὠκυπομποὺς ἔλξετ᾽ εἰς πόντον πλάτας; 


ε 5 ’ » “~ ε 4 
ὡς ἐκ θαλάσσης ἔκ TE γῆς ἱππεύμασιν 


λαβόντες αὐτοὺς ἢ κατὰ στύφλου πέτρας 
1430 ῥίψωμεν, ἢ σκόλοψι πήξωμεν δέμας. X 

Ἐν νει \ \ nA Qo »¥ , 

ὑμᾶς δὲ τὰς τῶνδ᾽ ἴστορας βουλευμάτων 


γυναῖκας αὖθις, ἡνίκ᾽ ἂν σχολὴν λάβω, 


ποινασόμεσθα" νῦν δὲ τὴν προκειμένην 


Ν la ο 
σπουδὴν ἔχοντες οὐ μενοῦμεν ἥσυχοι. 


sented already as often as we care to 
hear it and a little oftener, the affair 
of the sacrifice ought to have been 
remembered by Iphigenia with vin- 
_dictive resentment toward her country 
and her family, by way of gratitude 
to Artemis who saved her. But now, 
in siding with Orestes, she is said προ- 
δοῦναι τὸν φόνον. ----θεᾷ : dat. of disad- 
vantage; const. with the whole state- 
ment. — προδοῦσα : supplementary 
participle, the aor. being contempo- 
raneous. Both are regular in the 
connexion; cf. ἐμαυτὴν οὐ προδοῦσ᾽ 
ἁλώσομαι Andr. 191. 

1423-1425. οὐκ εἶα κτλ.: “ Will 
ye not up, etc.?” For the interjec- 
tion, cf. οὐκ el’ ὃ μέν τις λοῖσθον ἀρεῖ- 
ται δόρυ, | ὃ δὲ κτλ.; Hel. 1597. --- πώ- 


᾿ς λοις: there is something incongruous 


in the mention of steeds among these 
Taurians, as we have seen the men 
represented, but the allusion is con- 
ventional in passages of this sort. — 
παράκτιοι: παρ᾽ axTas. — ἐκβολὰς νεώς: 
for ναῦν ἐκβεβλημένην, but poetic and 
more comprehensive.—otv τῇ Oe : 
we can sympathize with the king in 
his assumption that the goddess is on 
the side of her temple and its people. 

1427. of δέ: others; cf. v. 1850. — 
mAdras: cf. v. 1133. Here for 
“ships,” like the English, so many 
‘sail.’ Similarly, κώπη v. 140. 

1430. σκόλοψι πήξωμεν: cf Hat. 
iv. 103 (quoted on v. 75). Impaling 
was an exclusively barbaric practice. 

1431 ff. ὑμᾶς... γυναῖκας : but you 
women who have connived at this treach- 
erous plot. —av@is ... νῦν δὲ KTA.: of. 


184 


ΑΘΗΝΑ. 
~ A Ν ’ 4 ¥ 
1435 ποῖ ποῖ διωγμὸν τόνδε πορθμεύεις, ἀναξ 


ΕΥ̓ΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. © 


| a 
Θόας; ἄκουσον τῆσδ᾽ ᾿Αθηναίας λόγους. ἢ 
; 


παῦσαι διώκων ῥεῦμά T ἐξορμῶν στρατοῦ" 


πεπρωμένος γὰρ θεσφάτοισι Λοξίου 


δεῦρ᾽ HAP ᾿Ορέστης, τόν τ᾽ 


: pee 
Ἐρινύων χόλον. ᾿ 
1 


1440 φεύγων ἀδελφῆς T “Apyos εἰσπέμψων δέμας 


ἄγαλμά θ᾽ ἱερὸν εἰς ἐμὴν ἄξων χθόνα, 


τῶν νυν 


παρόντων πημάτων ἀναψυχάς. 


Ν \ 3 sO ela 00 a δ᾽ 3 las 
πρὸς μὲν σ᾽ OO ἡμῖν μυῦος" ov ἄποκτενειν =a 
ADs ΄ , δ , A 

δοκεῖς Ὀρέστην ποντίῳ λαβὼν σάλῳ, - 
¥ la , 5 \ 3 4, a: 
ἤδη Ποσειδῶν χάριν ἐμὴν ἀκύμονα 

1445 πόντου τίθησι νῶτα πορθμεύων πλάτῃ. 

ν. 1312. The threat of Thoas adds ῥεύματι φωτῶν Aesch. Pers. 87, pei δ; 


to the zest with which Athena’s 
injunction to liberate the captives 
is received (vs. 1467 f., 1482 f., 
1495 f.). 

1435 ff. The goddess Athena enters 
upon the scene in the conventional 
way, by means of stage-machinery 
(ἀπὸ μηχανῆς): hence the phrase 
deus ex machina, to denote the 
solution of a plot through supernat- 
ural interference. See p. 26, foot- 
note 21. q 

1435 f. ποῖ wot: the repetition is 
consonant with Thoas’ precipitate 
haste. So Peisthetaerus to Iris (the 
present situation reversed) αὕτη σὺ 
wot wot wot πέτει; μέν ἥσυχος. Ar. 
Av. 1199. ---τῆσδε: the speaker sig- 
nifies her own presence. —’A@nvalas : 
in tragedy, the goddess’ name is 
᾿Αθάνα, sometimes ᾿Αθηναία. The lat- 
ter, the old Attic name common in 
inscriptions, becomes in the Attic 
prose literature quite regularly ᾽Αθηνᾶ, 
by contraction. 


1437. ῥεῦμα στρατοῦ: cf μεγάλῳ 


πολὺς ὅδε λεὼς πρόδρομος ἱππότας id. 
Sept. 80. 

1438. πεπρωμένος : destined to the 
holy work. This participle is gener- 
ally attributive when used personally ; 
cf. τὸν πεπρωμένον εὐνᾷ πόσιν ἐμέθεν 
Troad. 840. ee 

1440. φεύγων : pres. participle: par- ΝΣ 
allel with the future; see on aligerts 
v. 412. 

1442. gees appos. to the sen- 
tence (6. 137, n.3; H. 626); cf χάριν 
ἐμήν v. 1444. — ἀναψυχή, ἀναπνοῇ ῳ 
92), παραψυχή, “ respite.” 

1443-1445. πρὸς μὲν σέ: for the 
arrangement, see H. 786 8. --- ὃν δὲ 
κτλ.: “as for Orestes, whom thou 
think’st to slay, taken on the rolling 
deep, — Poseidon, for my sake, 8 
ready stills, bias ocean-wave, to speed 
his voyage.” —dkvpova: cf. vhvep 
1412, which denotes the same t 
from another point of view. ya? 
“calm” (γαληνός metaphorically 
345), applies to the placid water, 
effect of νηνεμία. --- τίθησι πορθμεύω 


ays 
ἮΝ 
< 
an 


IPHIGENIA AMONG 


THE TAURIANS. 185 


Ν 
᾿ς μαθὼν δ᾽, ᾽᾿Ορέστα, τὰς ἐμὰς ἐπιστολᾶς, 


‘\ 5 ᾿ ’ὔ > \ ἴω 
κλύεις yap αὐδὴν καίπερ οὐ παρὼν θεᾶς, 


χώρει λαβὼν ἄγαλμα σύγγονόν τε σήν. 


ὅταν δ᾽ ᾿Αθήνας τὰς θεοδμήτους μόλῃς, 


1460 χῶρός τις ἔστιν ᾿Ατθίδος πρὸς ἐσχάτοις 


ν ’ ’, , 
οροισι, γειτων δειράδος Καρυστίιας, 


ἱερός, ᾿Αλάς νιν οὑμὸς ὀνομάζει λεώς - 


ἐνταῦθα τεύξας ναὸν ἵδρυσαι βρέτας, 


΄Κ΄ »":ὀ. , »΄»“--ὄ 
ἐπώνυμον γῆς Ταυρικῆς πόνων τε σῶν, 


1455 οὺς ἐξεμόχθεις περιπολῶν καθ᾽ ᾿Βλλάδα 


οἴστροις Ἐρινύων: “Apreuw δέ νιν βροτοὶ 


ε 
τὸ λοιπὸν υὑμνήσουσι Ταυροπόλον θεάν. 


4 \ 4 > ν 6 ’ 4 
νόμον τε θὲς τόνδ᾽ - ὅταν ἑορτάζῃ λεώς, 


τιθεὶς πορθμεύει, A prose-writer would 
have said, preserving a closer gram- 


matical connection with the former 


clause ὃν... ’Opéorny κτλ. 
1446-1461. Addressed to the ab- 

sent Orestes. V. 1447 is parenthetical, 

_and calculated to prevent any seem- 

; ing strangeness or abruptness in the 

apostrophe. 

1 1446. ἐπιστολάς : mandates. 

. 1447. For the thought, cf κλύων 

ἐν: μὲν αὐδήν, ὄμμα δ᾽ οὐχ ὁρῶν τὸ σόν 


(Hippolytus to Artemis) Hipp. 86; 
ὡς εὐμαθές σου, κἂν ἄποπτος is 
ὅμως,  φώνημ᾽ ἀκούω καὶ ξυναρπάζω 
φρενί (Odysseus to Athena) Soph. 
Aj. 15, a general, not a particular 
statement. 


1449. θεοδμήτους : viz. founded by 
Athena herself; cf. ἐμὴν χθόνα. 1441, 
 obuds λεώς Vv. 1452. 

1450-1452. For the antiquities 
_ touched here and below, see Introd. 
ΟΡ. 185. ---᾿ Ατθίδος : sc. γῆς, Attica. 
of. v. 223. — ϑειράδος Kapvortias: 
in Euboea. — ἱερός: sacred it be- 


came by the very acts here pre- 
scribed by the goddess. A _ similar 
anachronism is κλειναῖς (v. 9) applied 
to Aulis. 

1453-1457. ἵδρυσαι : establish. The 
mid. of interested action; ο v. 1481. 
The active, v. 978.— ἐπώνυμον... 
Ταυροπόλον θεάν: 1.6. with a name 
commemorative of the Taurian land, 
etc. The word περι- πολ - ὧν is intro- 
duced for the sake of this fanciful 
explanation of the familiar epithet. 
In reality, Artemis Yauropolos was 
goddess “of the kine.” There is much 
of similar playing upon proper names 
in the drama, esp. in Aeschylus; cf. 
the quot. on v. 894, and Shakspere’s 
‘Thou, Leonatus, art the lion’s whelp; 
| The fit and apt construction of thy 
name, | Being Leo-natus, doth import 
so much’ Oymbeline fin. (followed by 
a unique etymology for mulier).— 
οἴστροις : before the “mad chase” of 
the Furies. “Gadfly” (cf v. 398) 
and “frenzy” are parallel meanings 
of οἶστρος, 


ΒΥΡΙΠΙΔΟΥ I®ITENEIA. 


“ A ἴω »» 3 5 / / 
τῆς σῆς σφαγῆς atmow ἐπισχέτω ξίφος 
, ον 3 τ ὯΝ ΄ 3 3 / 
1460 δέρῃ προς ἀνδρὸς ALLA τ ἐξανιέτω, 


ς if Y , > ΄ A » 
ὁσίας ἕκατι θεά θ᾽ ὅπως τιμὰς ἔχῃ. 


σὲ δ᾽ ἀμφὶ σεμνάς, ᾿Ιφιγένεια, κλίμακας 
Βραυρωνίας δεῖ τῆσδε κλῃδουχεῖν θεᾶς - , 


οὗ καὶ τεθάψει κατθανοῦσα, καὶ πέπλων 


1465 ἄγαλμά σοι θήσουσιν εὐπήνους ὑφάς, 


ἃς ἂν γυναῖκες ἐν τόκοις ψυχορραγεῖς 


: » 
λείπωσ᾽ ἐν οἴκοις. ---- τάσδε δ᾽ ἐκπέμπειν χθονὸς 


Ἑλληνίδας γυναῖκας ἐξεφίεμαι 


γνώμης δικαίας εἵνεκ᾽, ἐξέσωσα δὲ 


1470 καὶ πρίν σ᾽ ᾿Αρείοις ἐν πάγοις ψήφους ἴσας 


’ὕ > 3 , \ / 3 »» / 
κρινασ, Opeota: και νομισμ EOTAL τόδε, 


νικᾶν ἰσήρεις ὅστις ἂν ψήφους λάβῃ. 


1459 f. ἄποινα: appos. to the sen- 
tence. The rite described is here 


treated as a symbolical compensation | 


to Artemis for the intended slaughter 
of Orestes at her Taurian temple. — 
ἐπισχέτω ξίφος : translate as passive. 
The subj. is the general idea of the 
proper person or functionary, here 
the priest.—S€py πρὸς avSpos: πρὸς 
δέρῃ. Such placing of the preposition 
is common, the substantive with its 
limiting genitive being regarded as 
one term. 

1462-1467. σὲ δὲ... ἐν οἴκοις : 
apostrophe to Iphigenia. — σεμνάς : 
worshipful. See on ἱερός v. 1452. The 
cult of the Brauronian Artemis was 
of great antiquity and dignity. Brau- 
ron lay inland not far southwest of 
Halae Araphenides.—xAlwaxas Bpav- 
ρωνίας : terraces of Brauron. κλίμακες, 
probably with reference to a natural 
conformation of the hilly region. — 


κλῃδουχεῖν : κλῃδοῦχον εἶναι. See on 
ν. 191. -- ἄγαλμά σοι θήσουσιν : shall 
make offering to thee of, ete. ἄγαλμα, 
pred. noun. There is a trace here of 
the original identity of Artemis and 


Iphigenia. 


1467 f. τάσδε... ἐξεφίεμαι: ad- 
dressed to Thoas. Beyond this com- 
mand to liberate the captive Grecian 


women, Athena’s further injunctions | 


upon the Taurian king in the interest 
of humanity, as well as her directions 
to the chorus itself (cf v. 1494), have 
been lost from the text. 

1469 ff. γνώμης δικαίας εἵνεκα : the 
application of these words is not clear, 
as the first part of this second apo- 
strophe to Orestes has been lost. 

1471 ff. κρίνασα : “separating,” 1.6. 
“telling off”; cf. διηρίθμησε v. 966.— 
νικᾶν: the subj. is the antecedent of 
ὅστις. For the custom, see on v. 965,.— 
ἰσήρεις : ἴσας. The position before the 


~s 


IPHIGENIA 


AMONG THE 


TAURIANS. 187 


ἀλλ᾽ ἐκκομίζου σὴν κασιγνήτην χθονός, 


> ld A \ \ \ lal / 
Αγαμέμνονος παῖ, καὶ ov μὴ θυμοῦ, Θόας. 


ΘΟΑΣ. 


¥ > al 
1475 ἀνασσ᾽ ᾿Αθάνα, τοῖσι 

Ψ ΄ ¥ 

οστις κλύων aTLOTOS, 


ἐγὼ δ᾽ ᾿Ορέστῃ 7, εἰ 


τῶν θεῶν λόγοις 
» + las a 
οὐκ ὀρθῶς φρονεῖ. 
4 , nw 
φέρων βρέτας θεᾶς 


βέβηκ᾽, ἀδελφῇ 7 οὐχὶ θυμοῦμαι" τί γὰρ 


πρὸς τοὺς σθένοντας θεοῦς ἁμιλλᾶσθαι καλόν; 


1480 ἴτωσαν εἰς σὴν σὺν θεᾶς ἀγάλματι 


a bs , fe > κι 7, 
γαιαν, καθι βυσαιντο Τ EVUTUKWS βρέτας. 


πέμψω δὲ καὶ τάσδ᾽ Ἑλλάδ᾽ εἰς εὐδαίμονα 


lal σ Ν ,ὔ > > 4 
γυναικας, WOTEN TOV κέλευσμ᾽ ἐφίεται. 


4 \ , a 3 ΄ , 
παύσω δὲ λόγχην ἣν ἐπαίρομαι ἕένοις 


lal > Ψ ’ὔ’ Ἁ ΟΣ ε “ , 
1485 νεων T ἐρετμα, TOL TAO WS δοκεῖ, θεά. 


ΑΘΗΝΑ. 


αἰνῶ τὸ γὰρ χρεὼν σοῦ τε καὶ θεῶν κρατεῖ. 


eae : 7 A Ν > , 
ir ὦ mvoat, ναυσθλοῦσθε τὸν ᾿Αγαμέμνονος 


“ον > > 4 4 > 3 , 
παῖδ᾽ εἰς ᾿Αθήνας: συμπορεύσομαι δ᾽ ἐγώ, 


σῴζουσ᾽ ἀδελφῆς τῆς ἐμῆς σεμνὸν βρέτας. 


rel. has been noted often; cf. vs. 1461, 
1478 f., 1485.—Kal σὺ μὴ θυμοῦ Θόας: 
and thou, Thoas, be not wroth. The 
speech is not allowed to close with 
the apostrophic form. So the lost 
portion, vs. 1467 ff., being addressed 
to Thoas, a person present on the 
scene, was calculated to obviate any 
strained effect. 

1476. ἄπιστος : ἀπιστεῖ, ἀπειθεῖ. 

1477 f. ἐγὼ δέ: see on v. 731. --- εἰ 
... βέβηκε: causal in effect; see G. 
228, H. 926. --- οὐχὶ θυμοῦμαι : re- 


sponse to μὴ θυμοῦν. 1474. For οὐκ 


_ with ré... τέ, cf. vs. 1367 f. 


1484 f. λόγχην νεῶν τ᾽ ἐρετμά: cf 
πολεμίων ἐρετμοῖσι καὶ λόγχαις V. 1110. 
- ἐπαίρομαι : as we say ‘take up 
arms against’; cf. οὔ φημι χρῆναί σ᾽ 
ὅπλ᾽ ἐπαίρεσθαι θεῷ Bacch. 789. 

1486. αἰνῶ: 7 praise thee. A gra- 
cious commendation of the wise and 
reverent submission of the king. — 
τὸ yap χρεὼν... κρατεῖ: Fate doth 
even the powers of heaven constrain, — A 
so-called ‘literal’ translation of σοῦ 
τε καὶ θεῶν Would be intolerable. 

1487-1489. Finally, the apostro- 
phic form again, appropriately to the 


φ 


exit of the goddess Πουβο], --- ἔτ᾽ ὦ 


188 ΕΥ̓ΡΙΠΙΔΟΥ I®ITENEIA. 


ΧΟΡΟΣ. 


1490 τ᾿ ἐπ᾽ εὐτυχίᾳ τῆς σῳζομένης 


μοίρας εὐδαίμονες ὄντες. 


> > > \ , , 2 > , 
ἀλλ᾽ ὦ σεμνὴ παρά τ᾽ ἀθανάτοις 


καὶ παρὰ θνητοῖς, Παλλὰς ᾿Αθάνα, 


9 ae 
δράσομεν οὕτως ὡς σὺ κελεύεις" 


; ΄ὕ x \ cee 
1495 μάλα yap τερπνὴν κανέλπιστον 


φήμην ἀκοαῖσι δέδεγμαι. 


ἘΝ ͵ Ν ΄ Ν SVEN 
ὦ μέγα σεμνὴ Niky, Tov efcov 


βίοτον κατέχοις 


\ Ν , a 
Kat μὴ Anyou στεφανοῦσα. 


πνοαί: Blow, ye breezes --- ἀδελφῆς 
τῆς ἐμῆς : viz. Artemis, the daughter 
of Zeus. 

1490 f. Apostrophe to the voyagers. 
Go, and God speed you, happy as ye 
are to be counted among the saved!—The 
phrase 7 σῳζομένη μοῖρα was employed 
to designate ‘the surviving party’ in 
any sort of an affair. There is much 
pertinence in Wecklein’s suggestion 
that the present passage may have 
been intended especially for the audi- 
ence, with allusion to the great Sicilian 
disaster. For dramatically, there is 
a lack of antithesis, since nobody re- 
mains in the play of whom it could 
properly be said οὐ σῴζεται. 


. 1492. σεμνὴ παρά: revered among. 

1494. The reference is to some in- 
junction that has been lost from the 
text after v. 1468. 

1495 f. For a sound right joyful and 
unlooked-for mine ears have heard to- 
day !— They have heard the word 
ἐλευθερία. 

1497-1499. This formula, found 
also at the close of the Phoenissae and 
the Orestes, is pronounced on behalf 


of poet and choregus, as participants\ - 
in the dramatic contest, and is nowise Υ, 


connected with the subject of the 
drama. — “Ὁ Victory, most worship- 
ful, attend thou on my days, and cease 
not to bestow thy crown.” 


Foccaakid Wd wv 2 0) te 


ATHENA (Statue from Velletri in the Louvre). 


APP HINDI Des: 


In the following list of principal deviations from Ms. authority no 
mention is made of obvious corrections that have been generally adopted. 
The reading of the Mss. follows the colon, or is printed in common type. 


Verse 3. ἄπο: δὲ mais. —15. δεινῆς τ᾽ ἀπλοίας πνευμάτων τ᾽ οὐ τυγχάνω». --- 
24. τέχναι : τέχναις. --- 86. χρώμεσθ᾽: ἤΑρτεμις. --- 59, 60. οὐδ᾽ αὖ συνάψαι τοὔναρ 
εἰς φίλους ἔχω" [ Στροφίῳ γὰρ οὐκ ἦν παῖς, ὅτ᾽ ὠλλύμην ἐγώ. --- 62. παροῦσ᾽ 
ἀπόντι : παροῦσα παντί. --- 84. οὺς ἐξεμόχθουν περιπολῶν καθ᾽ Ἑλλάδα. ----Θθ7. κλι- 
μάκων : δωμάτων. 

120. τοῦδέ γ᾽ : τοῦ θεοῦ. --- 180. πόδα παρθένιον ὅσιον ὁσίας. --- 142. σπέρμ᾽: 
supplied. — 145 f. τὰν οὐκ εὔμουσον μέλπουσα: Tas οὐκ εὐμούσου moATas. — 
149. ἀπλακόνθ᾽ : supplied. —181. δεσποίνα 7 (or γ᾽) ἐξαυδάσω. --- 188, τῶν 
σῶν : supplied.— 192. ὁπότε; supplied.— 194, μετέβασ᾽ : supplied. 

208. Printed after v. 220.— 213. dv: supplied. — 226. ἄταν : ἄταν βωμούς. 
— 238. τε καί: παῖ καί. --- 258. ἥκουσ᾽ οἵδ᾽ ἐπεί: ἥκουσιν, οὐδέ mw. — 290. περὶ 
Tov: πέτρινον. --- 294. xd hao’: ἃς φᾶσ᾽. --- μυκήματα : μιμήματα. 

906. μικρῷ : μακρῷ. --- 395. πόρτιν : supplied. 

407. εἰλατίνας : εἰλατίνοι. --- κώπας : κώπαις. -- 428. ποσί: supplied. — 452. 
συνείην : συμβαίην. ----466. dvadaiver: Ἕλλησι διδοὺς ἀναφαίνει. --- 471. σαφώς : 
κακόν. --- 481. ἔσεσθε δή : ἔσεσθ᾽ ἀεί. ? 

514. τοῦθ᾽ ὅρα: τοῦτ᾽ %pa.— 521. λέκτρα: δῶμα. --- 529. τοῦτ᾽ : τοῦδ᾽. -- 
558. τῇδε: τήνδε. --- ὅ88. ᾿Αργόθεν : ἀγγεῖλαι. 

618. τήνδε: τῆσδε. --- 642. λέγουσ᾽ ἀπίστους : λέγουσα πιστάς. --- 645. ῥανί- 
ow: supplied. — 649. πόδ᾽ ἐμβάσει: ποτ᾽ ἐπεμβάσει. ---- 052. ἀπόλλυσαι : διόλ- 
λυσαι. ---- 672. διῆλθον : διῆλθε. 

744. τοῖσι wots: τοῖς ἐμοῖς. --- 782. ἀφίξεται : ἀφίξομαι. 

818. ἁδέξω : ἀνεδέξω. --- 832. δάκρυ᾽ ἀδάκρυα, κατὰ yoos: δάκρυ (or δάκρυα 
δάκρυα), κατὰ δὲ γόος. --- 834. τὸν ἔτι: τὸ δέ τι. --- ἔλιπον ἔλιπον : ἔλιπον. --- 
838. θυμὸς εὐτυχῶν : εὐτυχῶν ἐμοῦ | ψυχά. ----8568, οἶδ᾽, οἶδ᾽ ὅτε: οἶδ᾽, ὅτε. 

912. ἐπίσχει: ἐπίσχῃ. --- 938. δράσων : δράσειν. --- 941. δ᾽ : supplied. 

1071. μητρὸς πατρός τε καὶ τέκνων ὅτῳ κυρεῖ. --- 1097. ὀλβίαν : λοχείαν. 


1116. θ᾽ Ἰλληνοθύτας : τοὺς μηλοθύτας-. --- 1120. μεταβάλλειν δυσδαιμονίαν : 


μεταβάλλει δυσδαιμονία. --- 1154, δή : πρότονοι. --- 1148. avr’ ἁβροπλούτου τ᾽: 
ἁβροπλούτοιο εἰς. --- 1150. ταῖς γένυσιν περιβαλλομένα : καὶ πλοκάμους περιβαλ- 
λομένα γένυσιν. --- 1151. οὐκέτ᾽ : supplied. 

1213. οὖς δεῖ: οὐδείς. --- 1237. γέννησε: supplied.— 1239. φέρε δ᾽ ἵνιν: 
φέρεν viv. —1242. ματέρ᾽ els: μάτηρ. --- 1247, εὖ: supplied. —1248. κλεινόν : 


rr 


vg 2 oo) APPENDIX. 191 


1. -- 1349. σὺ δέ νιν: ἔτι μιν. --- 1252. Laxpiowv: (αθέων. --- 1259 f. 
ν παῖς ἀπένασσεν 6 Λατῴος : ἐπὶ γᾶς ἰὼν παῖδ᾽ ἀπενάσσετο. --- 1267. χα- 
fi εὐνάς. --- 1276. ἐπὶ δὲ σείσας : ἐπεὶ δ᾽ ἔσεισεν. 

. 68: τόδ᾽. --- 1309. ἔφασκον : ψευδῶς ἔλεγον. --- 1333. χερσί: ὄπισθε. 
L. ὄπισθε: xepol.—1346. ταρσῷ ... ἐπτερωμένον. Printed after v. 1394. 
2. σπεύδοντες ἦγον διὰ χερῶν πρυμνήσια. --- 1868. διδόντες : δὲ δόντες. --- 
. νόμῳ: Ady~. — 1380. παρθένῳ : supplied. — 1386. ναύτης λεώς : ναῦται 
- - 1394. See above, v. 1346. 


4: 38. πεπρωμένος: πεπρωμένοις. ; ; 


INDEX. 


The figures, when preceded by p., refer to the pages; otherwise, to the verses of the play, 
The references are not meant to be exhaustive. 


or to the notes, or to both. 


ἁγνεύειν 1227. 

αἰνῶ 1486. 

αἰτίαν ἔχειν 1036. 

ἄκαιρος 419, 754. 

ἀκίνητος 1157. 

ἀκοντίζειν (metaphori- 

cally) 362, 1370. 

ἀκούειν (with inf.) 958. 

'ἄκραντος 520. 

ἀκροθίνια 75, 459. 

ἀκύμων 1444. 

ἀλλά 999, 1170. 
elliptical, 354. 


for ἀλλὰ γάρ, 118, 646. 


ἀλλ᾽ ἦ 806. 


| ἀλλάσσεσθαι 292. 


| ἄλυρος 146. 


. ἅμικτος 403. 


ἀνάγκη (“servitude ”’) 
1118. 

ἀναγνώρισις p. 16; 808. 

ἀναλίσκειν 337. 

ἀναψυχή 1442. 

ἀνθ ὅτου 926. 

ἀνώνυμοι θεαί 944. 

ἀντιλαβαί p. 40. 

ἤΑξεινος πόντος 218. 

ἀπάγειν 356. 

ἀπαίρειν ὅ11. 

ἀπέπτυσα 1161. 

ἄπιστος 1470. 

ἀποδιδόναι 745. 

ἄποινα 1459. 


ἀπολαύειν 526. 


ἀπολλύναι 541. 
ἀπορρηγνύναι βίον 974. 
ἀπόφθεγκτος 951. 
ἄπτερος ὄρνις 1098. 
ἄρα 861, 472, 880, 1222, 
ἀραῖος 778. 

ἀρέσκειν 1335. 
ἄστακτος 1242. 
αὐλεῖσθαι 967. 

αὐτοῦ 974. 

ἀφειδεῖν 1904. 


βακχεύειν 1243. 
βάρβαρος 1337. 

βεβώς 1288. 

βλέπειν (“live”) 608. 
βρυχᾶσθαι 1590. 


γαλήνη, γαληνός 1444. 
γαμεῖν 682. 

γάνος 634. 

γάρ 328, δ06, 1818. 

γέ 11 510, 149,918, 919. 
γεγώς 473, 610. 
γεννήσας πατήρ 499. 
γένος (“sex”) 1061. 
γίγνεσθαι 1001. 

γόνος 1234. 


δάφνη 1100, 1246. 
δεινός 1032. 

δέλτος 727. 

δέσις p. 20, foot-note. 
δέχομαι 793. 


δή 459, 1184. 

δή γε 940. 

διά 683. 

διαδοχαί 79. 

διαμείβειν 396. 

διαπερᾶν 395, 1592. 

δίκην παρασχεῖν 944, 
948. 

Δίκτυννα 127. 

δινεύειν 192. 

Δῖος 404. 

δίπαλτος 323. 

δίπτυχος 242. 

δοκεῖν 8, 44, 299, 956, 
1335. 

δόλια, δόλῳ 859. 

δόξα 1030, 1164. 

δόρυ, δορί 519, 1520. 4 

δρόσος 1192. 

δύνασθαι 1023. 


ἐγὼ δέ 372, 731. 

ela 1423. 

εἰδέναι 248, 814. 

εἰπεῖν ἀκοῦσαί re 964. 

ἐκ 221. 

ἐκβαίνειν 98, 781. 

ἔκβολος 1042. 

ἐκκλέπτειν 391. 

ἐκνεύειν 1186, 1880. 

ἐκπλήσσεν (“ἱπίοτ- 
rupt”’) 778, 


a. oar 


ἐμπεδοῦν 790. 

ἔμπυρα 16. 

ἐν 762. 

ἐξαίρετος 755. 

ἐξαλλάσσειν 135. 

ἐπαίρεσθαι 1484. 

ἐπεί (with impf.) 261, 
942. 

ἐπείγεσθαι 1593. 

ἐπί 482, 680. 

ἐπισκήπτειν 701. 

ἐπιστάτης 1284. 

ἐπιστολαί 786, 1446. 

ἐπιστροφή 671. 

ἐπομνύναι 747. 

ἐπωτίδες 1550. 

ἐρέσσειν (of flying) 289. 

Ἔρινύες p. 13, foot-note. 

ἑρμηνεύς 1302. 

ἕρπειν 477, 699. 

ἔστιν ἔστιν 721. 

εὖ 1191. 

εὖ γε 1212. 

εὐγεντίς 275. 

εὐδαίμων 1088. 

εὐθυντηρίαι 1556. 

εὐλαβεστέρως 15375. 

εὔπαις 1254. 

εὑρίσκεσθαι 875. 

εὐφημεῖν 123, 6387, 

ἐφθαρμένος 276. 

ἔχειν 373, 718, 789, 828, 
1066, 1128. 


ἢ (or ‘suggestive ’) 503, 
1164. 
ἡ kal 741. 
ἥκειν 42, 258. 
impers. withadyv.,420. 


θάρσος 75%. 

θάσσειν 277. 

θεός and τύχη 867. 

θριγκοί, θριγκώματα 73, 
129. 


GREEK INDEX. 


θύειν 021. 
θωύσσειν 1127. 


ἱδρύεσθαι 1489. 
ἵπποι (fem.) 2, 192. 
ἰσήρης 1472. 


καί 592, 1123, 1401. 

kal μήν 236. 

καίτοι 720. 

κάκη 676. 

κακιστέον 105. 

κάλαμος 1126. 

καλλιστεῖον 25. 

κάμπτειν 815. 

κάρα, κεφαλή 98:3. 

καραδοκεῖν 919, 

κατάντης 1012. 

κατάρχεσθαι 40. 

κατασβεννύναι 633. 

κατεργάζεσθαι 11755. 

κεινός 418. 

κεῖσθαι 166, 177, 620, 
1189. 

κελαδεῖν 1093. 

κέλευμα, κελευστῆς 
1405. 

κέλλειν 1379. 

κερδαίνειν, κέρδος 1054. 

κινεῖν 1157. 

κλέπτης 1020. 

κλῃδουχεῖν 1409. 

κλῃδοῦχος 191. 

κλῃΐεσθαι 905, 917. 

κλίμακες 1402. 

κλύδων 1597. 

κλύειν (with inf.) 958. 

κομίζεσθαι 774. 

κόσμοι 1223. 

κόχλος 909. 

κρίνειν 1471. 

κτάσθαι 676. 

κυάνεος 241. 

κύκνος 1105. 


193 


kuvayos 284, 709. 
κυρεῖν 759. 
κώπη 140. 


λακτίζειν (πρὸς κέντρα) 
1396. 

λάσκειν 461. 

λατρεύειν 1115. 

λέγειν (with participle) 
641, 1047. 

λιπαρός 1190. 

λόγος 240, 578. 

λυπεῖν (absolute) 483. 

λύσις p. 20. 


μακράν 629. 

μᾶλλον μᾶλλον 1406. 

μάντις 711, 1128. 

μέλεσθαι 184, 645. 

μέλπειν 429 

μέμονε 655. 

μέν 330, 386. 

μέντοι 637, 1335. 

μέσος (els μέσον) 420. 

μεστός 804. 

μετελθεῖν 14. 

μῖσος 525. 

μοῖρα (ἡ 
1490. 

μολεῖν 1059, 

μῦθος p. 10, foot-note. 

Μύυκήνα 846. 

puoapos 1211. 


owlopevn) 


ναύτης (adj.) 1386. 
νήνεμος 1444. 
νόστος 1112. 

νυκτὸς ὄμμα 110. 
νῦν (for viv δή) 927. 


ξόανον 87, 1228, 1359. 


ὅδε 236. 


οἶκτος 1054, 


194 


οἶστρος 1456. 

ὀκέλλειν 1379. 

ὄλβος 455. 

ὀλολύζειν 1337. 

ὄμμα ἔχειν 373. 

ὁμόσπορος 611. 

ὀμφαλὸς γῆς 1258. 

ὄναισθε 1078. 

ὄνομα 905. 

ὅπως 921, 

ὁρίζειν 979. 

ὁρίζεσθαι 969. 

ὅρος 1219. 

ὁσία 1101. 

ὅσος (for ὁσάκις, etc.) 
962. 

ὅσπερ 612. 

ὅτε (with οἶδα) 852. 

οὐ γὰρ ἀλλά 1008. 

οὐκ ἐῶ, ov φημι 1344, 

οὐκ οἶδα 659. : 

ov μὴν ἀλλά 630. 

οὐδέ 927. 

οὔρειος 162, 1126. 

οὗτος 916. 


παιάν 1404. 
παλιμπρυμνηδόν 1395. 
map οὐδὲν θέσθαι 732. 
παραβάλλεσθαι 1094. 
παραστάδες 1159. 
παρασχεῖν δίκην 944. 
πάρεργον 516. 


πάρος (for μᾶλλον) 656. 


πάσχειν 658, 755. 


πατροκτόνος χείρ 1083. 


πειρατήρια 967. 
πέλαγος ἁλός 900. 
πέμπειν 590, 948. 
πεπρωμένος 1438. 
περᾶν 395, 724. 
περιβάλλειν 788, 799. 
περιπέτεια p. 16; 730. 
πέσημα 315, 1384. 


GREEK INDEX. 


πεφυκέναι 610. 
πηγή 1192. 
πίπτειν 730, 1010. 
πίτυλος 307, 1050. 
πλάτη 1427. 
πλέον 1336. 

πλέον λαβεῖν 496. 
πλὴν ὅσα 613. 
ποθεινός 513, 1006. 
ποῖος 1319. 
πολύθυρος 727. 
πομπή 651. 
πορθμεύειν 936. 
πόρος 253. 
πορφυρευτικός 263. 


πότερον (omitted) 656. 


TOUS 
“ sheet-line,” 1135. 
πόδα, 649. 
— πέμπειν, 130. 
— τιθέναι, 52. 
ἐν ποσί, 1312. 
πράσσειν 533, 692. 
πρέσβειρα 963. 
προκεῖσθαι 1189. 
προσάντης 1012. 
προστροπή 618. 
προυφείλειν 523. 
πρύμνηθεν 1349. 
mas av 627. 
πῶς φής 1317. 


ῥεῦμα στρατοῦ 1437. 
ῥῆσις ἀγγελική p. 29. 
ῥσθιον 407, 1387. 


σάλος 46. 


σέ (suffers elision) 656. 


σέβεσθαι 649. 
σιγάν 458. 
σόφισμα 380, 1091. 
στεναγμός 1390. 
στέργειν 1335. 
στομοῦν 287. 


συγκυρεῖν 874. 
συντείνειν 207. 
συρίζειν 1128. 
συστέλλεσθαι 295. 
σφραγίζειν 1372. 


τὰ γυναικός 1006. 
ταρσός (1394) 1346. 
Ταυροπόλος θεά 1457. 
τεκνοῦσθαι 1263. 
τηλύγετος 828, 

τιμή 776. 

τίνος τίς ὧν 1360. 

τὶς 548, 615. 

τλῆναι, τόλμα 869. 
τοί 1054. 

τρέφειν 849. 
τρίγλυφοι 113. 
τροχήλατος 82. 
Τροχοειδὴς λίμνη 1103. 
τυγχάνειν 610. 
τυχεῖν 252, 1921, 
τύχη 867. 


ὑφαίνειν 817. 


φάναι 1071. , 

φάσκειν 1309. Λ 

φέρεσθαι 416. 

φεύγειν 512, 1326. 

φήμη 1496. 

φίλτρον 1182. 

φροῦδος 1294. 

φῶς 187. 

φῶς ὁρᾶν 608. 

φωσφόρος θεά p. 1ῦ, 
foot-note; 21. 


χαῖρε 922. 

χάριν τίθεσθαι 602. 
φέρειν, 14. 

χοαί 162. ι 

χοροὶ ἐγκύκλιοι 429. 

χρεών 71. 


τ ἐν ae 


war . 


χρόνῳ 1336. 
χωρεῖν 1358, 1392. 


ψάλλειν 179. 


ψῆφος 945. 
᾿Αθηνᾶς, 966. 


ὠλένη 966. 

ὡς (with participle) 
377, 383. 

ὡς δή 682. 

ὡς 6008. 


‘ Achilles’ Race-course’ 
436. 
adjective 
for ady., 1284. 
for gen. of proper 
noun, 5, 263. 
simple, of two ter- 
minations, 1202. 
alliteration 209, 364 ff., 
596, 823, 876, 1317. 
Amphitrite 425. 
anachronisms 958, 1452. 
anacolutha 675, 695, 
947, 964. 
anapaests p. 41. 
anaphora 205, 227, 480, 
832, 984, 1018, 1059. 
anticipation 475, 904, 
996. 
antistrophic assonance 
p. 49; 445. 
antithesis 381, 
1026, 1264. 
aorist 
dramatic, 351, 672. 
inf. contemporane- 
ous 44, 785. 
ingressive, 309. 
participle contempo- 
raneous, 309, 329, 
441, 1419. 


516, 


ENGLISH INDEX. 


apostrophic form 1446, 
1474, 1487. 
Areopagus 945, 962. 
arrangement: see posi- 
tion. 
Artemis Tauropolos p. 
14. 
article 320, 902, 1006, 
1233. 
as relative, 35. 
with interrogative, 
1319. 
assimilation 119, 939. 
of tense, 262, 356, 
671, 1039, 1342. 
assonance 310, 450, 710. 
asyndeton 40, 310, 675. 
Athena 
casting-vote, p. 13. 
form of name, 14386. 
Athens 1088, 1130, 
1449. 
attraction 979, 1293. 


ban 951. 

bay-tree 1100, 1246. 

Bosphorus 393, 395, 
422. 

boxing of Barbarians 
1371. 


brachylogy 1227. 

Brauron p. 14, foot- 
note. 

bridal veil 372. 

‘Bride of Death’ 369. 


Calchas 532, 663. 

Castalia 1242. 

cenotaph 702. 

chiasmus 192, 

Choés 960. 

chorus p. 26, foot-note, 
p. 31; 576, 798, 
1052. 


195 


commos p. 26, foot- 
note, p. 32 foot- 
note. 

conch-shell 303. 

copula omitted 903. 

Cora 1234. 

coryphaeus 236. 

couplets of synony- 
mous words 248, 
244, 491. 


Delos 1098, 1240. 

dénouement p. 20. 

deus ex machina p. 26; 
1435. 

dialect p. 43; 126, 138. 

Dictynna 127. 

Dioscuri 272. 

dochmiacs p. 50. 

dream-oracle 
1278. 

drink-offering 162. 


1266, 


eclipse 198. 

elision 656. 

ellipsis 321, 630, 1174. 

enclitics 679. 

entrances and exits p. 
23. 

epeisodion p. 26, foot- 
note. 

epithets 

‘limiting,’ 1095. 
‘ ornamental,’ 

1264. 

equivokes p. 21; 1195, 
1197, 1218, 1221, 
1280. 

ethical dative 
χαῖρε) 922. 

etymologizing p. 14, 
foot-note; 32, 394. 

Eumenides p. 12 /in.; 

. 969, 


700, 


(with 


196 

euphemisms 755, 944, 
1173. 

euphony 35, 634 f. jin. 

Euripus 6. 


Eurotas 400. 

exodos p. 26, foot-note. 

eyewitness and hearsay 
812, 901. 


family-name 697. 

funeral-rites 172, 627, 
682, 821. 

Furies p. 18, foot-note; 
281 ff. 


Greek sentiments 455, 
502, 551. 


Halae p. 14, foot-note. 

halcyon 1089. 

hearsay and eyewitness 
812, 901. 

Hecate p. 15; 21. 

heirloom 826. 

Helen of Euripides p. 
39, foot-note. 

Hippodamia 2, 825. 

homoeoteleuton 847. 

hyperbaton 1824. 

hyperbole 718. 


iambic trimeter (see 
also pause, Porson’s 
Rule, and rhythm) 
p. 36, p. 38, foot- 
note; 892, 985. 

idioms 515, 683, 908, 
1068, 1203, 1233, 
1944. 

imperfect 27, 335, 667, 
954. 

with ἐπεί, 261,942. 

indicative (in final 

clause) 357. 


ENGLISH INDEX. 


infinitive 
with ἀκούειν, 958. 
with word denoting 
fear, 1842. 


interjections outside of | 


the verse, 467, 559. 
interrogatives 
with article, 1319. 


two in one sentence, - 


1360. 

To 394. 

Iphigenia (character- 
ized) p.5, p. 27; 336, 
378, 587 jfin., 590, 
595, 637, 740, 803, 
810, 852, 873, 912, 
999, 1023 jin., 1185. 

irony (see also equi- 
vokes) p. 17, p. 21, 
foot-note ; 340, 615. 


juxtaposition 598, 621. 
kidnapping 13858. 


Leucothea 270. 

‘limiting’ epithet 1095. 

litotes 520, 591,598,631. 

logaoedic rhythm p. 46, 
p. 50. 

lyrical style 145. 


marriage ceremonies 
372, 818. 

mementoes of the dead 
821. 

messengers p. 29; 1291, 
1528. 

metaphors 79, 81, 300, 
307, 345, 442, 599, 
680, 815, 935, 936, 
1048, 1095, 1817. 

metrical schemes pp. 
47 ff. 


miracles 1168. 

Moloch 626. 

Mopsus 582, 1128. 

music of the Greek 
drama p. 34. 

Mycenae 845. 


national spirit in the 
Greek drama 1386. 

negative (double) 1212. 

negative particles 116, 
354, 697, 1567. 

‘nominative absolute’ 
947. 

noun as adjective 299, 
1386. 


oath-taking 750. 

omens 1034, 1221, 1385. 

oracles p. 22, foot-note ; 
86, 973. 

order of words: see 
position. 

Orestes (characterized) 
p. 190. θυ δεν, 
102, 490, 496, 502, 
507, 510, 570, 591, 
678, 687, 711, 911 


Jin., 1012. 

Orestes’ sojourn at 
Athens p. 13. 
ornamental epithets 

571. 


oxymoron 512, 559, 568. 


Palaemon 271. 

Pan 1125. 

parallelism 1401. 

parataxis 530. 

Parnassus 709, 1244. 

paroemiac verse p. 45, 
foot-note. 

parodies p. 3, foot-note; 
32, 512, 844. 


parodos p. 26, foot- 
note, p. 32, foot- 
note. 
paronomasia 209. 
participle 
present, expressing 
purpose, 411, 558, 
1440. 
supplementary, with 
φροῦδος, 1294. 
vocative construc- 
tion, 788. 
with λέγειν, 1047. 
Patin p. 20, foot-note, 
p. 39, foot-note. 
pause 2, 8,675, 705, 996. 
periphrases 80, 96, 120, 
292, 300, 312, 370, 
410, 605, 721, 727, 
793, 817, 859, 905, 
1006, 1129, 1263, 
1424. 
personal pronoun em- 
phasized 490, 731. 
Persians of Aeschylus 
p. 29. 
Philoctetes of Sophocles 
p. 28, foot-note, p. 
36, foot-note. 
Phineus 422. 
plays upon names, p. 14, 
foot-note; 394, 395, 
500, 1454. 


‘Porson’s Rule’ 580,914. 


plural (for sing.) 80. 
‘generalizing,’ 109, 
348, 539, 619, 1358, 
1402. 
position 21, 22, 39, 72, 
177, 202, 235, 298, 
366, 373, 475, 498, 


ENGLISH INDEX. 


556, 605, 621, 646, 
679, 873, 979, 1014, 
1064, 1209, 1324, 
1401, 1460, 1472. 
potential construction 
1007. 
proceleusmatics p. 44. 
prolepsis 475, 996. 
prologue p. 24. 
prophets 1128. 
proverbs910, 1026, 1064, 
1121, 1193, 1896. 
punctuation 8. 
purification from blood- 
guiltiness 1224. 
Pylades (characterized) 
p. 4; 102, 650, 659, 
669, 709, 711, 716, 
719, 902. 
Pythian Games 1282. 
Python 1245. 


quantity of syllables, 
51, 230, 253. 

quotation by the an- 
cients 727. 


relative pronoun 320, 
359, 420. 
repetition 402, 486, 522, 
669, 721, 722, 994, 
1871, 1435. 
rhetorical form 675. 
rhythm 27, 674, 985. 


sacrifice of Iphigenia 
pp. 10-12, foot- 
note. 

Schmidt, J. H. Hein- 
rich, p. 35, foot- 
note, p. 46, foot- 
note; 1143. 


197 


self-apostrophizing 344. 

sigmatism 634 f. fin., 
679, 765. 

stasimon p. 26, foot- 
note. 

stichomythia p. 41 ; 69, 
492, 811, 922 fin., 
1027, 1040. 

Sun-god 1138, 1207. 

suspense p. 17. 

swan-song 1105. 

symmetry 490 jfin., 795 
Jin. 

Symplegades 125, 241, 
889. 

synizesis 270, 1048. 


Tantalidae p. 8, foot- 
note. 

Tantalus 387. 

temple 113, 128. 

Thoas (characterized) 
p. 20, foot-note, p. 
28; 1200. 

transition 95, 340, 576, 
673 jfin., 753, 912. 

translating 411, 1486. 

tribrachs p. 36, p. 37, 
foot-note ; 985. 

triglyphs 113. 

Triton 303, 425. 

trochaic tetrameter p. 
91. 


Wecklein p. 1ῦ, foot- 
note, p. 25, foot- 
note, p. 40, foot- 
note; 1490. 

Weil p. 39, foot-note; 
281, 


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